Call for Proposals: Norfolk International Airport needs some crazy-amazing public art (Norfolk, VA)

The Norfolk Public Art Commission and the Airport Art Planning Committee
seek to commission an artist to design and create exterior artwork.

LOCATION/CONTEXT: Norfolk is the cultural, educational, medical and business center of the seven city Hampton Roads area. It is thriving with culture, history, diversity, festivals, attractions and entertainment and boasts the best shopping and dining experiences in the entire region.  The city is a vital confluence of commerce, water, city, rail, transportation, government and business all coming together.  Norfolk hosts the world’s largest naval base, one of the busiest international ports on the East Coast, and the region’s international airport.
      Norfolk International Airport is the major airport serving southeast Virginia and northeast North Carolina. Surrounded by water and garden, it is enhanced by the splendor of the neighboring Norfolk Botanical Garden, which creates a beautiful buffer zone between the airport and the outside world. The year-round beauty of the airport grounds has become a national role model for reconciling expanding air facilities with a delicate ecological sanctuary. It has one of the most beautiful air approaches of any city in the world. The recently renovated lobby and concourses are bright and modern with open views of the lush landscapes.

PROJECT DESCRIPTION:  The Public Art Planning Committee seeks an artist to design and create exterior artwork that will signal Norfolk as a friendly and welcoming city. The art should be site-specific, creatively stimulate thought and conversation, and be relevant to Norfolk. The perfect artwork will create a sense of arrival, originality and momentarily relieve the stresses of air travel. 

PROJECT SITE:  Exterior artwork should be experienced by the maximum number of airport patrons. There are a variety of potential artwork sites. A key location is at the main entrance on Norview Avenue and Azalea Garden Road and would be seen as travelers enter or exit the airport grounds.  The park just outside the pedestrian bridge which runs between the main terminal and the baggage claim would also be a good location for artwork to be viewed both from indoors and outdoors.  Artwork would need to be approximately 20’ tall to be at eye level to the inside.

SIZE/MEDIA: The artwork should be large enough to be viewed by the maximum number of people entering and exiting the airport. Artwork must be fabricated in durable, permanent outdoor materials that are safe and easily maintained.

PROJECT FUNDS: Up to five finalists may be selected to be interviewed by the Public Art Planning Committee via Skype. The finalists are not expected to complete a design at this stage but will be interviewed about past work and creative process.  There will also be a preliminary discussion of the site. The committee reserves the right to select the final artist without a finalist process.
     The total budget for the completed, delivered and installed artwork is $200,000. This will cover artist’s honorarium, fabrication, materials, shipping and insurance, travel expenses necessary to complete the project, project plaque, final documentation and any incidental expenses.  The artist must hire a Virginia licensed contractor to install the artwork(s).  The selected artist may be asked to present a community educational workshop or presentation.
     Please note that a city contract will be issued with a design phase requiring review and approval by the Public Art Commission prior to fabrication.
     The selected artist must carry a Commercial General Liability Insurance Policy naming both the City of Norfolk and the Norfolk Airport Authority as additional insured, and must provide certificates of insurance to that effect guaranteeing thirty (30) days written notice before any changes to the policies become effective. The normal expected insurance requirement is three million dollars each occurrence.  Insurance can be purchased and certificate presented after the first payment is made.  If the artist employs anyone in connection with this work, the artist must carry a workers compensation insurance policy and an automobile liability insurance policy if appropriate. The artist shall also be responsible for assuring subcontractors, if there are any, meet the same insurance requirements.  

CALENDAR: This calendar is subject to change.
     May 4, 2017, 11:59 PM MDT time, submittal due date and time 
     June 2017, selection announced
     Spring 2018, completion of art

SELECTION CRITERIA AND AWARD CONSIDERATIONS: The commission will be awarded based on factors such as the aesthetic value, creativity and contemporary relevance of the proposed piece. The city will consider the diversity of beliefs and values and general standards of decency of the citizens who fund the commission and purchase public art for the City of Norfolk. The award will be made to the responsible offeror whose submission is determined in writing to be the most advantageous to the City taking into consideration the evaluation factors set forth in this Request for Proposal.
     The following criteria will be used in the proposal evaluation process:
          • Artistic merit (excellence, originality, creativity and innovative approaches) as evidenced by submitted materials
          • Professional artistic experience to fulfill the requirements of this project either in studio, educational, community, employment and/or art projects and the ability to undertake the design, creation and installation of the artwork
          • Appropriateness of materials, style and concepts in relation to this prospectus

 PROPOSAL REQUIREMENTS: Submission must be submitted via CaFÉ website at www.CallForEntry.org or delivered to 232 E. Main Street, Norfolk, VA 23510 by 2:00 PM EDT on May 4, 2017. 

QUESTIONS/FOLLOW UP:  Questions about this project may be directed to Danny Hawk, Office of the Purchasing Agent, 757-664-4026 or danny.hawk@norfolk.gov.

For assistance with the CaFÉ online application process, contact CaFÉ tech support at 888-562-7232 or cafe@westaf.org, Monday-Friday, 8:30 PM to 5:00 PM MDT.

   
Before submitting proposals, please review the website http://www.norfolk.gov/bids.aspx for possible updates and addendums.

Jobs: Lincoln Center for the Arts needs a Production Coordinator (New York)

Description

POSITION Production Coordinator, Programming OVERVIEW Lincoln Center for the Performing Arts (LCPA) serves three primary roles: it is the world’s leading presenter of superb artistic programming, is a national leader in arts and education and community relations, and functions as the manager of the Lincoln Center Campus. As the Production Coordinator, Programming, you will organize events associated with Lincoln Center’s Great Performers series, Mostly Mozart Festival, White Light Festival, and other projects planned by the Programming Department. Reporting to the Production Manager, with additional directives provided by event producers, you will provide both production and administrative support. Specific responsibilities include:

• Coordinating and disseminating all production information, scheduling venue visits for artists, coordinating the distribution of venue technical packages to artists, distributing artist’s technical information to lighting and sound supervisors and venue production managers, distributing and maintaining production calendars, and tracking the distribution of all of the above information.
• Arranging accommodations, transportation, and hospitality services for guest artists.
• Processing visa applications for guest artists.
• Preparing the annual versions of the company and accounting databases. Inputting production-related budget lines. Briefing incoming production interns on database functions.
• Managing the processing of all new hire paperwork relating to programs, research union pay rates and implement production crew rates. Ensuring that payroll is submitted for seasonal staff.
• Maintaining each program’s daily schedule. Updating as new information arrives and/or as directed.
• Researching vendor pricing on production-related equipment rentals and purchases. Arranging for various production-related lighting rentals and arranging timely and accurate returns of same.
• Tracking all production expenditures, including petty cash, invoices, etc. Preparing the monthly production-related accruals and coordinate close-out for each event.
• Preparing purchase order requests, service contracts, and processing invoices through the Purchasing and Finance Departments.
• Implementing fee and payment schedule for consultants and coordinators. Preparing vendor and consultant contracts and coordinate approvals with the Legal Department.
• Supervising any seasonal production interns or temporary staff.
• Managing all master load-ins and –out schedules.
• Providing day-to-day administrative support to the Production Manager, including phone coverage, database and file maintenance, minutes at meetings, etc.

REQUIRED QUALIFICATIONS: • Excellent written and verbal communication skills; professional phone manner • Strong computer skills and proficiency in Word, Excel, PowerPoint, and database programs • Strong organization skills and attention to detail, with an ability to multitask and prioritize effectively • Must exhibit excellent judgement and flexibility • Knowledge of classical music and the performing arts • At least five years of experience in the field or a related business • Ability to work evenings and weekends required • This job involves being able to lift up to 50 pounds • Bachelor’s degree in a related field or an equivalent combination of education and experience

Application Instructions / Public Contact Information

SUBMISSION PROCEDURE Please send a cover letter (including your salary requirements and interest in Lincoln Center) and resume to our humanresources@lincolncenter.org inbox. Submissions without cover letters will not be reviewed. Please list: Production Coordinator in the subject line. Internal candidates should contact a member of the Human Resources Department directly. Lincoln Center is an equal opportunity employer.

Call for Proposals: Light rail station mural/public art opportunity in Denver (Colorado)

Request for Proposals
Location: Cherokee and Alaska Ave. - Alameda Station

The BMP Metropolitan District No. 1 in collaboration with RedLine is seeking proposals for a public mural for the west facing wall of the Xcel Energy Electrical Substation located across the street from the Alameda light rail station. The location for the mural represents a unique intersection of urban life connecting the Denver Design District, a public transportation hub, and sets the stage for a new transit-oriented development that will redefine this area of the city.  Artists experienced in public murals should apply and consider this an opportunity to create a dynamic piece that speaks to the placement of the mural on the Xcel substation wall and its location adjacent to the RTD light rail station. Design concepts that capture the intersection of innovation, design, transportation, sustainability, and energy as well as speak to the surrounding neighborhood are encouraged.

Specifications of the Site –  

The site of the new mural will have the opportunity to visually welcome and send off light rail passengers utilizing Alameda Station.  The site is also an important front door to the broader redevelopment of the Denver Design District.  The location of the installation in relation to the light rail will allow it to be viewed by the 70,000+ passengers that pass by the station in trains every day.   This is very much a utilitarian public space and the public mural should provide the vibrancy to light rail patrons that signals their arrival or departure from the Denver Design District.

Artists will be required to sign the Artists Agreement and Waiver of Rights and Release as required by Xcel Energy - please email lmartorano@redlineart.org for an example of the Artist Agreement.  Artists will also be required to sign a Commissioning Agreement stating that the installation will be performed at the Artist’s own risk and that the Artists will hold all other parties harmless in the event of injury or damage to person or property as a result of the Artist’s installation activities. For an example of a commissioning agreement, please email lmartorano@redlineart.org.

Budget - Submissions should include a detailed description of any exclusions but artists are encouraged to provide an “all in” cost that does not exceed $60,000.  The cost should include artist fees, materials, equipment, install, and any other costs that are expected to be incurred from concept to completion. 

More info and apply here

Grant: The Ruth and Harold Chenven Foundation has money available for US-based artists

The Ruth and Harold Chenven Foundation gives annual awards of $1500 to individual artists living and working in the United States, and who are engaged in or planning a new craft or visual art project. The Foundation does not accept film, video, performance art or music submissions (except as those media are integrated into a larger craft or visual art project).

An independent jury of artists and/or art professionals will judge the submissions and make its recommendations to the Foundation Board of Directors for final approval. Between 4 and 7 awards are granted annually. Previous winners of a Foundation grant are not eligible for a second award.

Materials from the winning submissions will be retained by the Foundation and may be used by the Foundation for publicity purposes.

More info and apply here. Applications will be accepted beginning May 15th, and must be either postmarked or emailed by NO LATER THAN July 15th. If you have questions about the application process, please send them to pbunten@chenvenfoundation.org.

Call for Submissions: 2018 College Art Association Conference Proposals

CAA and the Annual Conference Committee invites proposals and projects of interest to its members and varied audiences. Submissions that cover the breadth of current thought and research in art and art practice, art and architectural history, theory and criticism, studio art, pedagogical issues, museum and curatorial practice, conservation, design, new media, and developments in technology are encouraged. https://caa.submittable.com/submit

The 2018 CAA Annual Conference will be in Los Angeles, February 21-24. The Annual Conference Committee will accept the following proposals for review: Complete Sessions, Sessions Soliciting Contributors, and Individual Paper/Project proposals. All sessions will be 90 minutes in length at CAA 2018. Please plan accordingly. For full details on the submission process for the conference, please review the information below and on the individual submission pages.

PROPOSAL SUBMISSION TYPES Session Soliciting Contributors

SUBMISSION DEADLINE: April 17, 2017

The Session Soliciting Contributors option allows a submission for a full session (90 minutes in length) with yet-to-be identified speakers and papers/projects. If selected, such sessions will be included in the call for participation (CFP) which opens June 30. Individual Paper/Project SUBMISSION DEADLINE: April 17, 2017

Individual Paper/Project proposals (15 minutes in presentation length) may be submitted for review. No specific theme is required. The Annual Conference Committee will review and select paper/project proposals based on merit and group approved submissions into Composed Sessions of up to four participants. A liaison from the Annual Conference Committee will be identified for each Composed Session to assist with the format and to help identify a session chair or moderator. 

SUBMISSION DEADLINE: April 24, 2017 The Complete Session option allows a submission for a complete panel (90 minutes in length) pre-formed with participants and papers/projects chosen in advance by session chairs. This session requires advance planning and information gathering by the chair(s). Affiliated Societies

SUBMISSION DEADLINE: April 24, 2017 Each Affiliated Society may submit either one Complete Session proposal (90 minutes in length) pre-formed with participants and papers/projects chosen in advance or one Session Soliciting Contributors proposal (90 minutes in length) to be included in the CFP which opens June 30. A note of approval from the Affiliated Society chair must accompany the submission. This session will be guaranteed and will be identified as an Affiliated Society session in all CAA publications.

GENERAL SUBMISSION GUIDELINES --All sessions will be 90 minutes in length at CAA 2018. Please plan accordingly. --All session proposals must be completed and submitted online. --To submit a proposal, individuals must be current CAA members. All session participants, including presenters, chairs, moderators, and discussants, must also be current individual --CAA members. Please have your CAA Member ID handy as well as the member IDs of any and all participants as this is a required field on the submission form. Please note that institutional member IDs cannot be used to submit proposals. If you are not a current member, please renew your membership or join CAA. --All session participants must also register for the conference. Online registration for CAA 2018 will begin October 2, 2017. Early conference registration will end December 15, 2017 and advance conference registration will end on February 7, 2018. Early and advance conference registration fees will not change from CAA 2017, New York. --CVs are required for panel proposals where the chair and, if applicable, the co-chair are known. --Session and paper/project abstracts should be no more than 250 words in length. --The accuracy of information entered into the proposal form (e.g. spelling of names, affiliations, titles) is important as it will be pulled directly from this database for conference publications such as Abstracts 2018 and the conference website. --The Annual Conference Committee makes its selections solely on the basis of merit and works to create a balanced program. Where proposals overlap, CAA reserves the right to select the most considered version or, in some cases, to suggest a fusion of two or more versions from among the proposals submitted. --If their proposals are accepted, CAA members may participate in session panels in consecutive years.

Application Instructions / Public Contact Information

For more information about session proposals for the 2018 Annual Conference, please contact Katie Apsey, CAA manager of programs, at 212-392-4405 or Tiffany Dugan, CAA director of programs, at 212-392-4410.

Call for Proposals: New Mexico State University needs public art (Las Cruces, NM)

Call Type: Public Art
Eligibility: National
State: New Mexico
Entry Deadline: 4/14/17
 

The Art in Public Places Program of New Mexico Arts and the Local Selection Committee at New Mexico State University (NMSU) seek an artist or artist team to create an interior, site-specific commission project in the Hardman and Jacobs Undergraduate Learning Center (HLULC) on the main campus of NMSU in Las Cruces, NM. Professional artists working in the United States and demonstrating a level of experience that is commensurate with the project scope and budget are invited to submit qualifications to this project opportunity. A total of $180,500 is available for the project inclusive of all costs, taxes and fees.

More info here and apply here

Call for Proposals: The New Art Center's Curatorial Opportunity Program (Newtonville, MA)

Call Type: Exhibitions
Eligibility: International
State: Massachusetts
Deadline: June 3, 2017
Number of Applications Allowed: 2

The New Art Center's Curatorial Opportunity Program (COP) is currently accepting proposals for contemporary art exhibitions involving two or more artists and at least one public program.

This open-call program supports independent curators of contemporary art by making diverse visions possible in a non-profit and alternative exhibition space. The program investigates contemporary culture through the visual arts, exhibits strong curatorial voices, and encourages the timely examination of new ideas and perspectives. Curators of accepted proposals receive a 1,000 USD stipend as well as administrative, installation, marketing & P.R. support.

Requirements:
- Proposals must include works by two artists or more.
- Proposals must include one public program with an educational component; more than one is encouraged.
- Curators can choose to include their own work in their proposal, but in some cases, they may be asked to eliminate their work from the proposal if the panel feels that such a cut would strengthen the exhibition.

Info and application are available here

Residencies: Three new open calls from The International Studio & Curatorial Program (New York)

The International Studio & Curatorial Program (ISCP) announces three open calls for artist residencies in New York City in 2017–18, funded by The Pollock-Krasner Foundation, National Endowment for the Arts, and SAHA Association. In addition, Norwegian and Finnish sponsors are currently accepting applications for ISCP residencies.

Each residency includes 24-hour access to a private 300 sq. ft. studio space in Brooklyn, studio visits from visiting critics and an appointed advisor; field trips to museums, galleries and other cultural venues; and participation in artist talks and Open Studios. In addition, residents have the opportunity to work with a studio assistant, develop projects in the public realm with the support of ISCP staff, and are invited to take part in ISCP's exhibition program. Residents become part of a growing network of international artists and curators who are ISCP alumni.

ISCP Pollock-Krasner Residency 
ISCP is currently accepting applications from visual artists including painters, sculptors, and artists who create installations, or work on paper, including printmakers, who are eligible to work in the United States, for a fully-funded five-month residency, from September 1, 2017 to January 31, 2018, plus living and materials stipends (approximately 2,300 USD per month).

The selection committee will review applications based on quality, originality and artistic merit. Other consideration factors are: the potential impact of the residency on the applicant, the applicant's past accomplishments, and preparedness to undertake the residency. Studio visits/interviews with finalists will be held by the selection committee. 

Application deadline: April 15, 2017
Download the application here and submit to application@iscp-nyc.org indicating "Pollock-Krasner Residency" in the subject line.

National Endowment for the Arts Residency 
ISCP announces an open call for a fully-funded four-month residency, from September 1 to December 31, 2017, plus stipend (500 USD per month) for an artist whose work focuses on documentary practices. The selected resident will be expected to research, develop and produce at least one project on one or more of the following issues: fact and fiction, the representation of the real, and ethics and the documentary. This work will be included in an ISCP exhibition in October 2017. Applications will be accepted from visual artists in all disciplines who are based and eligible to work in the United States.

The selection committee will review applications based on quality, originality and artistic merit. Other consideration factors are: the potential impact of the residency on the applicant, the applicant's past accomplishments, and preparedness to undertake the residency. Studio visits/interviews with finalists will be held by the selection committee.

Application deadline: April 15, 2017
Download the application here and submit to application@iscp-nyc.org indicating "NEA Residency" in the subject line.

SAHA – Supporting Contemporary Art from Turkey 
Artists from Turkey are invited to apply for a fully-funded three-month residency supported by SAHA – Supporting Contemporary Art from Turkey. The residency will take place between September 1 to November 30, 2017 and includes a stipend of up to 7,000 USD for accommodation and living expenses in New York City, and related travel costs.

The selection committee will review applications based on quality, originality and artistic merit. Other consideration factors are: the potential impact of the residency on the applicant, the applicant's past accomplishments, and preparedness to undertake the residency. In addition, applicants who have not previously lived or worked in New York will be given priority.

Application deadline: April 15, 2017
Download the application here and submit to application@iscp-nyc.org indicating "SAHA Residency" in the subject line.

Grants: City of West Hollywood has funds available to/for transgender artists (Los Angeles, CA)

OPEN - TRANSGENDER ARTS INITIATIVE GRANT- Transgender Arts Initiative Grants are a pilot program initiated by City Council intended to support and enhance artwork to be presented or exhibited in West Hollywood by transgender artists or nonprofit organizations with a history of supporting transgender individuals. The maximum award any individual artist or artist collective may receive under this grant is $3,000. The maximum award any 501(C)(3) nonprofit organization may receive under this grant is $5,000. All proposed projects funded under the Transgender Arts Initiative Grant must be completed or in progress by June 30, 2017.

• Transgender Arts Initiative Grant [Online Application]

Call for Proposals: Paper Presentations, Demonstrations or Workshops for the International Mokuhanga Conference (Hawaii)

Workshop and Demonstrations Guidelines:

1. Demonstrations and workshops must be related to mokuhanga, Japanese woodcut printmaking.
2. Each presentation will be limited to a maximum of two hours including translation.
3. The presenter must bear the cost of required tools and materials. Work tables will be provided.
4. Selected presenters are expected to pay the Conference Registration fee.

To make a proposal, please submit the following:  

1. An outline of 300 words describing the workshop or demonstration in English or Japanese.
2. Three digital images in JPEG format, maximum file size 1MB each
3. Applicant’s biography (100 words)
4. Applicant’s passport-size portrait in JPEG format

Paper Presentation Subjects:

1. Mokuhanga History, Philosophy & Society
   
   This topic concerns the incorporation of mokuhanga in universities and community workshops, providing insight into cross-cultural issues. A study of this traditional Japanese technique can create a better understanding of Japanese history, society, gender and the concept of ‘the artist’ in Japanese culture.
    
2. Bridge-building: Educational Mokuhanga Practice, International Exchange & Residency Programs
   
   For artists, educational practices that cultivate traditional and contemporary mokuhanga techniques can include information about international exchanges and residencies that expand horizons and inspire a younger generation of artists. While originating in Japan, mokuhanga can be seen as a vehicle for international exchange.
    
3. Contemporary Mokuhanga
   
   Mokuhanga today has expanded across the world, and has changed to become more relevant to contemporary artists. This topic encompasses innovative artwork inspired by the technique or imagery of mokuhanga as well as work that expands mokuhanga into hybrid techniques such as installation and performance.
    
4. Materials Suppliers
   
   The disappearance of traditional materials and their distribution network of small shops has created a challenge for artists looking for appropriate mokuhanga materials. Today new business relationships and new kinds of distribution networks are being created for tools, paper and other materials for the international community of mokuhanga artists.
    
5. Art Markets and Mokuhanga
   
   This topic addresses the changing viewpoints of galleries and print collectors whose experiences have evolved within today’s global art market, and the challenge of adapting the art market to the interconnected world.
    
6. Local Practice: Mokuhanga in Hawaii and the Pacific Coast
   
   An opportunity to look at the specific combination of cultural influences from East and West that have made Hawaii and the U.S. Pacific Coast so hospitable to a new vision of mokuhanga.
    
7. Mokuhanga, the Environment & Social Changes
   
   The technique of mokuhanga perfectly suits the growing focus on safe environmental practices that reflect new notions about sustainability in an age of climate change. Today’s print shops and schools can benefit from the non-toxic aspects of 19th century mokuhanga technology to resolve concerns about toxicity. This topic also concerns the importance of preserving hand skills in the digital age, benefitting individual artists as well as the environment.
    
8. Artist’s Presentations
   
   This topic offers an opportunity for individual artists to present their own innovative and conceptually based mokuhanga artwork. Both emerging and established artists are encouraged to share their unique approaches to mokuhanga in their contemporary practice.

Guidelines:

1. Only papers that cover one of the above subjects are eligible.
2. Papers must be in English or Japanese and under 3000 words. Papers may include images.
3. The oral presentation of a paper will be limited to a maximum of 20 minutes.   Extensions will not be allowed.
4. Presenters must submit the presentation’s full text in advance to be published in the Conference Proceedings book. The deadline for full text submissions will be announced after the presenters have been selected.
5. Selected presenters are expected to pay the conference registration fee.

Checklist for Paper Presentation Proposals:

1. A 300 word abstract of the conference paper in English or Japanese formatted in Word or equiavalent
2. Presenter’s biography in 100 words
3. Passport size photo of the presenter
4. Entry Form for Submission:Paper Presentation

Deadline March 31, 2017

More info and apply here

Jobs: MoCA is looking for PT Gallery Attendants (Los Angeles, CA)

Gallery Attendants will help to create an accessible and enjoyable experience in the museum galleries that assist visitors with a general understanding of current exhibitions and works of art on view, while also focusing on protecting the art works. After a probationary period and on an as needed basis, Gallery Attendants may train to handle box office functions.

REQUIREMENTS 

• 1 – 2 years experience dealing with the public in a customer service or hospitality environment. Hospitality-oriented individual with strong people skills is preferred. 
• Friendly and outgoing, possessing strong communication skills to interact with diverse visitors. Understanding of how body language can convey a welcoming yet firm presence.
• Familiarity with museums; strong interest in contemporary art.
• Flexible schedule; ability to work evenings, weekends, and holidays, at both downtown locations – MOCA Grand Avenue in Downtown Los Angeles, and The Geffen Contemporary in Little Tokyo – as assigned. 
• Ability to handle fast-paced events as well as remain focused and attentive during quieter times.
• Ability to use good judgment.
• In partnership with security personnel, willingness to act as a “first responder” in emergency situations such as earthquakes, power outages, or incidents requiring medical attention.
• Possession of, or enrollment toward, a Bachelor’s degree preferred, but not required.

Essential Functions:

• Participate in two full-day introductory trainings on visitor engagement strategies, art protection methods, and emergency procedures.
• Participate in daily briefings and additional scheduled trainings, including curatorial walkthroughs of new exhibitions.
• In partnership with MOCA Security Officers, maintain posts in the museum lobby and galleries during public hours and special events.
• Greet and orient visitors, engage visitors in viewing art and adhering to museum rules and policies.
• Assist MOCA Security in handling fire/life safety protocols, including medical incidents or emergency situations.
• Assist with event check-in, including organizing and communicating with people in line.
• Be knowledgeable about MOCA membership benefits and how to join.
• Perform other duties as assigned.

Box Office Requirements

• Work accurately under pressure, with capability of handling several simultaneous duties; excellent problem-solving skills and attention to detail.
• Ability to practice low-keyed salesmanship in a service situation.
• Possess an aptitude toward basic mathematical calculations and recordkeeping necessary to accurately perform the duties of ticket selling.
• Experience using Patron Edge or other point-of-service software preferred.
• Essential Box Office Functions (offered as needed, pending training and passage of probationary period)
• Execute box office policies and procedures as outlined in training sessions, staff meetings, as well as written handbooks and supplements.
• Responsible for selling museum entrance tickets and event tickets to patrons, selling and providing information on museum memberships.
• Set up and reconcile all monies and ticket transactions occurring during work shift; carry out established security deposit of monies in safe; keep appropriate records of all box office transactions.
• Perform other duties as assigned. 

Physical Demands 

While performing the essential functions of this job, the incumbent must be able to do the following: stand for extended periods; sit for extended periods; bend and reach for filing and other job-related functions; climb up and down stairs; bend, stoop, and lift to move and retrieve materials; pull, push, and lift; reach both above and below shoulder height.  Specific visual abilities include close vision, color vision, depth perception, and the ability to adjust focus.  Must be able to visually inspect work.  Manual dexterity to operate computer and other office equipment required. 

The physical demands described above are representative of those that must be met by an employee to successfully perform the essential functions of this job. Reasonable accommodations may be made. 

Email:hr@moca.org
Phone:213.621.1758
Address: 250 S. Grand Ave.
Website: www.moca.org

Deadline: 04-03-2017

Call for Artists: Nampa Public Library is getting a mural (Idaho)

The Nampa Public Library is looking for a local artist to create a mural for the 3rd floor Spanish Language Area.

CALL-FOR-ARTISTS

CONTACT: Claire Connley, email: connleyc@nampalibrary.org, phone: 208.468.5806
DEADLINE: Tuesday April 4th 2017, 2:00 PM (mst)
ELIGIBILITY: Open to all visual artists, giving preference to artists with “Treasure Valley ties”
BUDGET: $2,800 (including all supplies and the cost of installation which shall include all costs related to labor, equipment, travel, parts and all miscellaneous costs including but not limited to liability insurance.)

Application: 
Artists submit by Tuesday April 4th 2017, 2:00 PM (mst) the following:
o The Completed Application Form (included at the end of this document)
o Letter of Interest (describe ties to the Treasure Valley, maximum one page)
o Resume (maximum two pages) with 3 references
o Visual Representation of Examples of Past Work. Digital Images (artists may submit up to 10 images of past work examples)

• • Standard jpeg format under 1 MB in size
  • Title each image with first and last name and sequence number (IE: sallyjones01.jpg, sallyjones 02.jpg)
  • Provide an image list describing artwork (title, date, medium)

o Mail or deliver application on a cd or thumb drive to:
Nampa Public Library Call to Artists – Spanish (Language) Area Mural
Attention: Claire Connley
215 12th Avenue South, Nampa, ID 83651
Please note: No submissions will be accepted after the deadline.

Selection Process: 
This call is for qualifications and past experience only. No design concepts need be presented at this time.
A selection panel representing the Nampa Public Library will meet, review applications and will choose two finalists who will be paid $100 each to create site-specific proposals for consideration. Preference will be given to artists with ties to the Treasure Valley. Chosen finalists will then prepare proposals on a 24” x 36” board.

About the library: 
The Nampa Public Library and the Library Foundation want to enhance the library experience and celebrate our community with art. Operated by the City of Nampa, the Nampa Public Library provides access to information, as well as educational and cultural opportunities, regardless of means. As an added attraction to the downtown community, the library also helps build Nampa’s economy. The Nampa Public Library is a place for literacy and an environment for art.

Project Overview: 
This mural is financed through the Nampa Public Library Foundation will be funded by a Hispanic (Spanish) grant from Key Bank. The mural will be located on the third floor of the library building in the Spanish (Language) area. The design of the installation is open to interpretation, yet the selection panel will encourage artwork that feels welcoming to all ages. Chosen art should reflect the library’s character. The library’s “guiding principle” is that of a rooted tree.

The Mural Should…

• Be of cultural and/or historical importance to the Hispanic community of the treasure valley.
• Reflect the struggle of Hispanics in Idaho to balance a desire for educational success and the demands of working in the agricultural industry.
• Provide excitement and interest for the community as a whole.

The artist should be aware of other art elements in the building:

• The three-story Feature Wall entitled “A Wider World” by Boise artist Leslie Dixon
• The ‘main donor wall’ in the lobby (Four panels of an abstracted tree in a landscape by artist Jerri Lisk and surrounded by birds cut out of aluminum)
• The hanging lobby sculpture entitled “Planting Seeds” by Boise artist Matt Grover

The new mural should complement these existing art elements. It is the artist’s responsibility to ensure that all artwork is of a permanent nature, meets safety requirements and adheres to building codes. Artwork must be durable and must require minimal maintenance.

Project Details: 
The wall space is approximately 13’ 5” high and 8’ 7” wide. Installation of the artwork is to be coordinated with library staff, and not to exceed the $2,800 budget. The two finalists will be able to tour the site and meet with staff to ask questions.

Timeline:
January 18th Call to Artists
April 4th Application Deadline
April 6th 2 artists notified as finalists
May 18th Finalists proposal boards due
May 24th Artist chosen
May 25th to July 25th Artist to produce and install mural.

Questions:Contact Claire Connley, email: connleyc@nampalibrary.org , phone: 208.468.5806
For more information on the Nampa Public Library go to: http://nampalibrary.org

Call for Entry: Albany Park Branch Library needs public art video artists (Chicago, IL)

CITY OF CHICAGO: ALBANY PARK BRANCH LIBRARY

PUBLIC ART COMMISSION OPPORTUNITY
The City of Chicago Department of Cultural Affairs and Special Events (DCASE) —working closely with the Chicago Public Library, Alderman Laurino and community stakeholders—invites professional artists working in video to submit their interest and qualifications for a public art commission at Albany Park Branch Library. Four artists/teams will be commissioned at $4500 each to create original video artworks for the City of Chicago’s Public Art Collection.

ELIGIBILITY
This opportunity is open internationally to professional artists working in video. Applicants must be at least 18 years old and may not be enrolled in an undergraduate degree program. Of the four videos commissioned, at least two will be awarded to Chicago-based artists.

BACKGROUND/BUDGET
In 1978, Chicago City Council unanimously approved a Percent for Art ordinance that requires 1.33 percent of municipal construction or renovation costs be allocated to commission public art at the site. Since that time, nearly 500 works have been commissioned as part of Chicago’s Public Art Collection, one of the largest municipal collections in the country. Because the Albany Park Branch Library was funded with Tax Increment Financing (TIF), the Percent for Art ordinance did not apply. However, due to the important impact of public art, Chicago Public Library identified $25,000 of bond funds available to commission public art at this site.

$18,000 will be used to fund four distinct video commissions at $4,500 each. The remaining $7,000 will be used to pay design fees to the artists invited to submit proposals during the semifinalist stage of the selection process, in addition to educational materials that will support public engagement with the commissioned artworks that result.

The City is not responsible for any expenses that a finalist may incur beyond the contracted amount of $4,500. For example, if a finalist resides out of town and intends to visit the site during the development of their commission, or for the launch celebration of the video program, there are not separate funds available to cover those costs. The total commission amount for a finalist is fixed at $4,500.

SITE
The Albany Park Branch Library—located at 3401 W. Foster Avenue in Chicago’s 39th Ward—primarily serves the North Park and Albany Park neighborhoods. The 16,500 square foot state-of-the-art building designed by Jackson Harlan LLC opened to the public in September 2014, replacing the original Albany Park Branch Library that opened at the same site in 1963. This branch features many community amenities including several computers with internet access, a YOUmedia center for teens, an interactive children’s area, and meeting rooms that welcome diverse community-driven activities such as bookbinding workshops, book club discussions, story times, seasonal gatherings, themed craft-making activities, legal clinics and more. Albany Park is one of Chicago’s most ethnically diverse neighborhoods and the library has been an important part of the community for over 50 years.

SCOPE
The site’s lobby prominently features a four-panel Planar Clarity Matrix LCD Video Wall System to which there are sightlines throughout the branch. The commissioned videos are intended to contribute a depth of experience for visitors to the branch, enhancing a sense of place by meaningfully intersecting the culture of the neighborhood. Values that stakeholders have expressed as vitally important to the Albany Park community include diversity, immigration, creativity, lifelong learning, and the natural environment. Given that the branch is a family friendly site welcoming intergenerational visitors, content should be suitable for all ages. Applications for this competitive opportunity will be reviewed based on the originality of applicant’s stated approach, their responsiveness to the site, and the strength of their previous video work.

Applicants from the local area are encouraged to visit the site before submitting their application materials. For those applicants who are unable to visit the site, teens engaged in the library’s YOUmedia program have created a short video tour > YOUmedia teens’ video tour of the site.

Additional links applicants may wish to explore:

·        Chicago Public Library - Albany Park Branch

·        Public Building Commission of Chicago - Albany Park Branch Library

·        Alderman Laurino, City of Chicago Ward 39

TECHNICAL DETAILS
The commissions need to be silent, single-channel files that do not require any special software or hardware to screen optimally. If desired by a commissioned artist/team, a video may be edited to uniquely activate the four panels that distinctly comprise the single plane of the video wall via a single channel. Please consult the specifications provided for detailed information about the Planar Clarity Matrix LCD Video Wall System (four panel LX46HDS-L model). 

The four commissioned videos will run continuously on a loop with brief slides inserted between each to indicate the artist/s and running time for the preceding and following videos. The video program will be accessible to the public for 8 hours each day the branch is open. There are no minimum or maximum length requirements for the commissioned videos.

The commissions will be contracted as unique, non-editioned, one-of-a-kind artworks for Chicago’s Public Art Collection. However, artists may develop still iterations of the video as a saleable counterpart. Artists may also retain an artist’s copy of the commissioned video for screenings at festivals or fairs, but the video may not be posted online.

PROCESS
DCASE’s Public Art staff will oversee all aspects of the artist selection and commissioning process including interagency and aldermanic consultation, community engagement, selection panel development, application review, artist contracting and consulting, and project implementation.

SELECTION PANEL
Pamela Feldman—Artist, longtime Albany Park resident/parent
John Glynn—Manager, Albany Park Branch Library
Regin Igloria—Artist, longtime Albany Park resident, founder of North Branch Projects
Abina Manning—Executive Director, Video Data Bank at the School of the Art Institute of Chicago
Jordan Martins—Artist, faculty at North Park University, Executive Director of Comfort Station
Mark McKernin—Artist, faculty at Northeastern Illinois University
Gregorio Rodriguez—North District Chief, Chicago Public Library

COMMUNITY FORUM
A community forum will be held in the community room of the Albany Park Branch Library on Wednesday, February 1st, from 4:30-5:30pm to discuss this public art opportunity. Anyone interested in the project is welcome to attend. DCASE Public Art staff and representatives from the selection panel will be present to share information about the project, listen to community input, clarify how to apply, and address questions.

TO APPLY
Applicants must submit the following by 10:59pm CST, Sunday March 12, 2017

A statement of intent (no more than 300 words) that indicates the applicant’s intended approach to this commission opportunity and its responsiveness to the site, as well as why this specific opportunity at Chicago’s Albany Park Branch Library is of interest to the applicant.

A resume that clearly highlights the applicant’s past experience relevant to this opportunity (no more than 3 pages).

An annotated media list that gives brief context to the video/images submitted.

At least one video, and no more than three, edited so as to not exceed one minute each. The video sample/s should best demonstrate the applicant’s skills relevant to their intended approach for this project.

Up to three video stills may be submitted but are not required.

One URL may also be submitted for review but is not required. If an applicant opts to submit a URL, please include it on the annotated media list.

DEADLINE
The application deadline is 10:59pm CST, Sunday March 12, 2017. No late submissions will be accepted, and incomplete applications will be ineligible. After the application deadline, submissions will be reviewed by the selection panel. That process will identify a short list of semifinalists to whom honoraria will be paid to develop formal proposals. Semifinalists will be contacted in April, and proposals will be due in July. After the panel reviews the semifinalists’ proposals, four finalists will be recommended for commission, with at least two commissions awarded to Chicago-based artists. A final community forum will be held at the Albany Park Branch Library (details TBD) to present the panel’s recommendations before the finalists are contracted in September. Commissioned videos are expected to be complete within a year of contracts being issued.

More info and application here

Grants: Vermont Arts Council has Creation Grants (Vermont)

Creation Grants help Vermont artists create new work. Grant funds may be used to compensate the artist for time spent creating work, the purchase of materials, or the rental of equipment or space. All projects must have a strong potential for future public presentation and should strive to increase greater public understanding of the arts.

Who May Apply

Individual artists and artist groups may apply. Individual applicants must:

• be a resident of Vermont at the time the award is granted, and must have been a resident of Vermont for a minimum of one year prior to the application deadline
• be 18 years of age or older at the time of application
• have submitted all required reports on any prior Council grants Artist groups must:
• be Vermont-registered nonprofit organizations
• have 501(c)3 tax-exempt status or work with a fiscal agent Who May Not Apply
• Artists whose projects involve activities for which college credit is given
• Artists or arts organizations that have received a creation grant within the past three years

Grant Amounts and Matching Requirements

The grant amount for this program is $3,000 per award. No match is required. Seventy-five percent of the grant amount will be paid on receipt of a signed contract; twenty-five percent will be paid on receipt of the final report. Grant amounts are dependent upon federal and state funding and subject to change. Criteria for Selection Proposals will be evaluated in two rounds. All artists may apply in round one. Artists may apply by invitation only in round two. Applicants will be evaluated on the same criteria in both rounds but those advancing to round two will be asked to provide more detailed information in a second application. Artistic Quality (60%) The work, as evidenced by artistic support materials, is: • of high artistic quality • relevant to the proposed activity Impact/Project Management/Evaluation (40%) The applicant provides: • a clear description of the proposed project and timeline • a clear description of the art form and/or artists’ creative process • evidence of relevant experiences and/or a plan for creating the work • clear project goals and outcomes • evidence the work can be presented to the public beyond the grant year Grantee Requirements and Expectations Arts Council funding must only be used for the creation of the work (e.g., artist time, materials etc.) and not for the public presentation of the work. Grantees will be expected to sign a contract agreeing to specific funding requirements (e.g. insurance, accessibility, promotional, and accounting system expectations). A final report will be due 30 days after the project, and no later than September 30, 2018. Application and Deadline The application is available online. Activities outlined in the project must take place between September 1, 2017 and August 31, 2018. The Council reserves the right to work with the applicant to improve or clarify grant requests before funding decisions are made. The deadline for round one is March 29, 2017. 

Preparing Your Application

Applicants in round one will be expected to submit applicant and project information, a project summary, and artistic support materials (e.g. images, video, audio, writing samples, etc.). No panel feedback will be provided on applicant materials in the first round. Applicants invited to apply in round two will be given four weeks to prepare and submit a more detailed project description including a timeline, budget, method of evaluation and measurement, plan for promotion of the project, and evidence of potential for future public presentation of the work. All materials for both rounds must be submitted through the council’s online granting system. 

More information and apply here

Call for Entry: City of Greeley needs some public art (Greeley, CO)

Entry Deadline: 3/3/17

REQUIREMENTS:

Media
Images - Minimum: 3, Maximum: 6
Total Media - Minimum: 3, Maximum: 6

The City of Greeley is currently in the final planning stages for the new City Center/Municipal Campus. Phase I of the building will house Municipal Court, the IT Department, Council Chambers, GTV8, Central Records and the Water and Sewer department administrative offices. This Civic Building will serve as the center of municipal government to deliver key services to citizens and will eventually contain all city offices.  Its architecture is intended to be open, transparent and welcoming. Phase I will be located on the cleared portion of the city block located at the Northwest corner of 11th Avenue and 11th Street.  Images of the projected City Center model and building renderings can be viewed at http://greeleygov.com/city-center  by scrolling down and clicking on ‘Fire Station #1 and City Center Phase 1 Update’.

The main entrance of Phase I will be located at the north east corner of the new construction and will serve as such until Phase II of the project is funded, constructed and attached to Phase I.  The Phase I entrance will open up into a long hallway that will have great open ‘canvases’ for indoor wall art that will face the northern windows of the building. The wall will be separated into three sections that will measure approximately 20’Wx12’H; one or more of these sections may be utilized by the artist.  

To attach Phase II the north wall of Phase I will be removed and a large portion of the Phase I hallway with the indoor wall art will open up into a grand atrium with a large lobby space; this will become the new main entrance. Artwork will be requested for this area at a later date that must be cohesive in nature to the artwork in Phase I.  A second call to artists may be posted for Phase II artwork or the Phase I artist may be retained with no further posting.

Design materials for the exterior building will be brick and glass as used in the new Fire Station #1, limestone panels cover the east exterior wall facing 11th Ave., and dark bronze colored formed metal frames the Court Room entrance. The building architecture will exhibit a highly civic presence.

The budget for artwork design, fabrication, delivery and installation is not to exceed $60,000.

One artist will be selected to work with a project team of architects, engineers, and managers to work together in developing a design for art to be incorporated into the new building. This approach requires good collaborative skills, creativity, flexibility as well as an open mind. The artist will be selected based on past experience with collaborative projects and past work that exhibits style and materials appropriate to the site.

A minimum of two progress reports will be required showing the evolution of the artists design. Final design work must be original and must include all details necessary for the fabrication and installation of actual artwork. Once the final design is accepted by the Greeley Art Commission and payment made for the design, the City will retain all rights of the final design. The building construction may be ready for art installation as early as July 2018.

More info is available at this site or by emailing Kim.Snyder@greeleygov.com

Residency: New York Arts Practicum Call for Applications for Summer 2017 (New York)

New York Arts Practicum, Call for Applications Summer 2017
New York City, June 5, 2017 – July 28, 2017
Application Deadline: March 13, 2017

 
Apply now to the 2017 New York Arts Practicum, a summer arts institute where participants experientially learn to bridge their lives as art students into lives as artists in the world. The program is structured around apprenticeships with mentor artists, a critique seminar where participants produce work without access to their institutional facilities, and site visits to artist workspaces, galleries, and museums.

The intensive eight-week program offers participants a structured environment to experience the challenges of life as an artist and demystifies the many ways one can be an artist today. Mentees work in their mentor’s studio two to three days per week, meet Monday and Tuesday evenings for a critique seminar, and convene Fridays for site visits. Past participants called the experience: demystifying, life changing, and an inspirational reality check.

Curious about the program and application process? Join Program Director Michael Mandiberg for a Google Hangout on Saturday, March 4th at 3:00 PM EST. RSVP to: info@artspracticum.org.

Mentors lead critiques structured around developing strategies for creating work without institutional studio facilities. Practicum mentors lead seminars on their work, or related topic; these sessions are intimate views into their in-progress work, with a focus on process. By working with an artist on a day-to-day basis, participants gain a view of their near futures as artists, learning models for negotiating a creative life outside of school.

 
Mentors for Summer 2017

Chloë Bass will be making analog books as practice for making a digital film.
Taeyoon Choi will be working on a participatory performance, interactive installation and pedagogy project that challenges the notion of normalcy and disability.
Brendan Fernandes will be working on a solo-presentation in collaboration with Recess.
Doreen Garner is performing surgery on a silicone cast of a monumental statue of Dr. J. Marion Sims.
Pablo Helguera will be researching and producing multiple exhibitions taking place in Mexico City, California, and Europe.
Marisa Morán Jahn will be designing outreach tools for America’s caregivers, slipping experimental art into pirated Ugandan DVDs, and working on Bibliobandido, a Honduran public art and literacy project.
Simone Leigh will be working in a sculpture studio, manufacturing objects for a large-scale installation.
Mary Mattingly is working on public food policy and transforming military equipment.
William Powhida will be developing ideas for future exhibitions, including planning a 2018 retrospective, as well as making political drawings which require research and fact-checking.
Kenya (Robinson) is preparing a memorial service for the #WHITEMANINMYPOCKET.
Brad Troemel will be doing research and experimenting.
Penelope Umbrico will be developing work for upcoming exhibitions, casting objects, 3D printing, polishing glass, screen printing, painting, material scavenging, and finalizing some book projects.
Clement Valla will be working with photographic technologies, from 3D scans and cyanotypes to alternate photographic technologies from the 1850s.

Application Details

The eight-week New York Arts Practicum runs from June 5th to July 28th, 2017. The application deadline is March 13, 2017.

For program description and application please see the website: http://ArtsPracticum.org. For questions, please see the FAQ: http://www.artspracticum.org/faq, or contact us at info@artspracticum.org.

Grants: Jim Henson Foundation is accepting letters of intent for Production, Workshop, and Family grants (National)

Description: The Jim Henson Foundation awards grants each year for the creation and development of innovative works of puppet theater. Production Grants of $7,000 are awarded for the production of new works ready to be presented in the coming year. Workshop Grants of $3,000 are for the development and workshopping of these pieces. Workshop Grants and Production Grants can be combined over a two year period for the greatest benefit to the piece; keep in mind, however, that a Production Grant does not need to be proceeded by a Workshop grant and a Workshop Grant in no way ensures a future Production Grant.

Family Grants of $4,000 fund the development of new and innovative work specifically for children, families, and teenagers. Please keep in mind that Family Grants will be evaluated by the same high artistic standards as works for adults.

Grants are made only for the development of new works of live puppet theater. The Foundation does not award funds for the presentation or remounting of existing work. Grants cannot be applied retroactively; substantial portions of a proposed project must take place after the funds are awarded. The foundation does not fund publications, parades, pageants, exhibitions, spectacle, festivals, film or television projects, projects for school credit, workshops, education or outreach activities, or purely digital performance.

Geographic Focus: National

Deadline: March 13, 2017

Jobs: Penn State is looking for a FT Curator and Exhibitions Coordinator

CURATOR AND EXHIBITIONS COORDINATOR

Campus/Location: University Park Campus

Date Announced: 02/22/2017

Date Closing: 02/28/2017

Job Number: 69392

Classification: Exempt

Work Unit: University Libraries

Department: Eberly Family Special Collections Library

DESCRIPTION

The Pennsylvania State University Libraries seek applications and nominations for the position of Curator and Exhibitions Coordinator. Under the direction of the Dorothy Foehr Huck Chair and Head of the Eberly Family Special Collections Library, the person appointed to this three year fixed term faculty position will be responsible for creative exhibition planning, project management, coordinating related programming, and other associated activities to support our overall exhibition engagement with local and online audiences. She/he will have an opportunity to assume responsibility for developing collections in one or more topical area of strategic importance to the Special Collections Library. The University Libraries values diversity of thought, perspective, experience and people, and is actively committed to a culture of inclusion and respect. We encourage candidates to apply who thrive in a welcoming multicultural environment. More information on Penn State’s commitment to Diversity, Equity and Inclusive Excellence, can be found by visiting http://equity.psu.edu/psu-diversity-statement. For additional information about the Libraries’ diversity efforts, please visit https://libraries.psu.edu/about/diversity. The Curator and Exhibitions Coordinator: Oversees the Special Collections Library’s overall exhibitions program such that exhibitions encompass the rich resources held in the collections; are exhibited in engaging, educational, and varied ways; and, promote the collections’ historical significance, diversity of thought and voices, and institutional memory; Chairs the Special Collections Library Exhibits Committee to review proposed and develop new exhibition ideas, to coordinate and schedule Special Collections exhibits, and to work closely with curator(s) and related Libraries’ staff on planning, installing, and programming exhibitions; Serves as the Special Collections liaison to other library and university units engaged in exhibitions including, but not limited to, the Libraries’ Public Relations and Marketing department and the Palmer Museum of Art to support Penn State’s learning and teaching mission, faculty’s research, and land-grant status; Works with the Instruction & Outreach Archivist and Head of Research Services to use social media and perform other outreach activities as related to exhibitions; Plans and/or participates in events promoting the Special Collections Library’s exhibitions, such as tours or programs; Creates Special Collections Library promotional materials for exhibitions, such as brochures and catalogs; Serves on the Special Collections Library’s Collections Review Committee and assumes responsibility for developing collections in one or more topical area of strategic importance. General Duties: Provides reference service to faculty, students, and other researchers on a rotating basis, including occasional weekend duty; Supervises project staff, students, and interns as required; Completes special projects as assigned/directed; Participates in local, regional, or national professional organizations and enriches professional expertise by attending conferences and continuing education opportunities; Represents the Special Collections Library on relevant library committees, task forces. Qualifications: Required: MLS/MLIS from an ALA-accredited program, or a Master's degree in Information Science, Archival Science, or a related field, or applicable education and experience; Experience with special collections, ideally gained in an academic library setting; Familiarity and experience with current trends and practice for exhibitions with primary source materials; Excellent interpersonal, communication, and organizational skills; Experience working with websites, blogs, and social media; Experience with cataloging systems and archival discovery tools; Ability to work effectively, both independently and collaboratively, in a collegial environment Desirable Qualifications: Subject knowledge in one or more of the Special Collections Library’s primary collecting areas, such as modern American literature and history, labor history, women’s studies, or university history and experience curating and developing new collecting areas; 2-5 years experience curating dynamic exhibitions with special collections materials, including the management of exhibition workflows and related work. Special Collections Library: Consisting of over 225,000 volumes, strengths of the Library include Rare Book collections of English and American literature; art and architectural history; emblem books; the history of photography; works of Joseph Priestley; African-Americana and the African Diaspora; art education; utopian literature; and German literature in English translation. Literary manuscript collections include the papers of John O’Hara, Chip Kidd, and Kenneth Burke. Historical collections and labor archives document Pennsylvania social, political, and economic history with special emphasis devoted to labor, business, and the evolution of nineteenth and twentieth century industrial society. Core archival research collections include: the United Steelworkers of America, the United Mine Workers of America, the Pennsylvania AFL-CIO, Pennsylvania railroad records, and business ledgers documenting the early iron industry in central Pennsylvania. The papers of Pennsylvania political figures such as Governors William W. Scranton and Robert P. Casey, as well as Civil War era diaries and letter collections are also part of the Library. The official records maintained by the University Archives document the University’s 160+ year history and include university business records (paper and electronic), papers of Penn State presidents, faculty, and alumni, papers of numerous scholarly and professional associations and documentation of student organizations. The Library also manages an extensive sports archives, wide-ranging photograph and audio-visual collections, as well as the archives of choral music pioneer and entrepreneur, Fred Waring. For more information about the Special Collections Library visit https://libraries.psu.edu/specialcollections. University Libraries: The Penn State University Libraries are a strategic asset to Penn State, advancing intellectual discovery, information literacy, and lifelong learning, all in support of the University’s strategic goals in teaching, research, service, and outreach. The University Libraries is ranked among the top 10 research libraries in North America, according to the Association for Research Libraries investment rankings, and provides services at University Park and 22 other campus locations throughout Pennsylvania as well as online. We serve more than 6,400 faculty and 46,800 students at University Park, and approximately 97,500 students university-wide. More than 120 faculty librarians in the University Libraries benefit from extensive technological resources and research support services. Penn State, a land-grant institution, is a member of the Big Ten Academic Alliance and the Association of American Universities. The University Libraries is a member of the Association of Research Libraries, the Association of College and Research Libraries, and the international Center for Research Libraries. The University Park campus is set in the State College metropolitan area, a university town located in central Pennsylvania. State College offers a vibrant community with outstanding recreational facilities, a low crime rate, and excellent public schools. The campus is within a half-day`s drive to Washington D.C., Baltimore, Philadelphia, New York City, or Pittsburgh. The University Park Airport is served by three major carriers with flights to Washington D.C., Philadelphia, Chicago and Detroit. For more information, please visit http://www.libraries.psu.edu and http://www.cbicc.org. Compensation and Benefits: This is a three year fixed-term faculty position. Rank and salary are dependent upon qualifications and experience. Fringe benefits include liberal vacation, excellent insurance and health care coverage, state or TIAA retirement options, and educational privileges. In addition, faculty in the University Libraries are afforded funds for professional development travel annually. Faculty may be asked to travel as official representatives of the Libraries to certain events and those trips are reimbursed at full cost within limits established by the University. Applications and all supporting materials must be submitted online. To be considered for the position, interested candidates should upload a resume or C.V. and the names and contact information of three professional references (including email addresses). Review of applications will begin March 1, 2017 and continue until position is filled. Questions may be addressed to Lindsey Harter, Faculty Search Coordinator, at lap225@psu.edu.

Jobs: UCLA is recruiting for FT Sculpture Lab Supervisor (Los Angeles, CA)

The Department of Art at UCLA is recruiting for a full-time, career Sculpture Lab Supervisor.

This position will be responsible for managing, supervising, technical instruction, safe operation, budget administration, security, use, and day-to-day functions of the Sculpture Lab, Metal Fabrication/Welding Lab, Mold Making Lab, Resource/Reference Area, and "White Room" Exhibition Space, along with each labs' specialized equipment and tools, for the Sculpture Area of the Art Department. Manager instructs and demonstrates the safe use of all fabrication lab equipment and facilities used by graduate and undergraduate students, and various faculty and staff members. Significant interaction with the department's graduate and undergraduate student population requires strong teaching skills. Expected to identify and understand an individual's arts-related research and provide appropriate advice about relevant artists, styles, and past/present references. Expected to identify and understand an individual's arts-related technical needs, giving appropriate advice, training and instruction about tools, methods, fabrication techniques, and materials used. Remain current and knowledgeable about current developments in the art world, especially the field of sculpture: theoretically, conceptually, and physically. Remain current and knowledgeable about new equipment (computer-operated mills, saws, welders, plasma cutters, and rapid proto-typing machinery, for example) and techniques related to sculpture production. Maintain inventory and checkout equipment, power/hand tools, and other supplies. Manage and coordinate support for Sculpture field trips, events, lectures, exhibitions, and special projects. Responsible for budget administration in the sculpture lab areas. Responsible for managing acquisitions and donations for the Resource/Reference Area and coordinate the maintenance and expansion of the Area's extensive slide and digital image collection. Develop and maintain resource disaster recovery and safety training plans for the all the machinery, equipment, tools, and other resources in the labs under supervision

Salary Range: $4,328-$6,960/month (based on experience)

Applications will be accepted through February 28, 2017.

Further information and online application can be found here

The University of California is an Equal Opportunity/Affirmative Action Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, disability, age or protected veteran status. For the complete University of California nondiscrimination and affirmative action policy, see: UC Nondiscrimination & Affirmative Action Policy: http://policy.ucop.edu/doc/4000376/NondiscrimAffirmAct

For more information about the Department of Art, see the website: http://www.art.ucla.edu

Jobs: Armory Seeks FT Communications Department Associate (Los Angeles, CA)

Under the supervision of our Communications Director, you will perform and support day-to-day graphic design, media production, administrative, and PR tasks at Armory Center for the Arts — a nonprofit, contemporary arts center in Old Town Pasadena. Ideal candidate is a relatively-recent design or communications/marketing graduate with 1-2 years relevant experience. In addition to media production, candidates who can also demonstrate superlative writing skills within a sales and marketing context are highly desirable. Learn more and apply here.