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Many of you may already be familiar with the Prelinger Library and Archives in San Francisco, but it was a new discovery for me. Rick Prelinger heads the multiple facets of the innovative library, archive, and moving image archive. Check out the projects at http://www.home.earthlink.net/~alysons/library.html, and the Internet Archive link to the Prelinger Collection http://www.archive.org/details/prelinger.
Sherman Clarke of NYU posted his review of the year in art cataloging to ARLIS/NA as a discussion starter for next week' s conference in Atlanta. Hope some of you find it interesting as well. Be sure to check out his art cataloging website. The link is: http://artcataloging.net.
Review of the year in art cataloging:
prepared for Cataloging Problems Discussion Group,
ARLIS/NA Annual Conference, Atlanta, Ga., 2007
Opacs, interfaces, social tagging
* The Cleveland Museum of Art is a charter member of PRIMO, the new interface being developed by Ex Libris. http://primo.exlibris-usa.com/content8.html
* Ann Arbor District Library has a social tagging feature that requires a library card (available only to residents) for participation. But (!) they do have a cute visual feature that allows you to scribble on catalog card images. http://aadl.org/catalog For some history of how they came up with it, go to http://www.blyberg.net/2006/01/19/creating-a-virtual-card-catalog
RLG/OCLC combination
* RLG has announced that RLIN21 will be retired on August 31, 2007. Details about the transition may be found at http://www.oclc.org/community/rlg/default.htm with the transition master schedule at http://www.oclc.org/community/rlg/rlg_master_schedule_external.pdf Several Art NACO libraries have already made the transition to OCLC, joining the two libraries (School of Visual Arts and Heard Museum) that were not RLIN21 users. Bibliographic records are being loaded from RLIN and the number of new master records in OCLC is higher than I would have expected. Details about the status of contributions may be found at http://www.rlg.org/en/page.php?Page_ID=21039
* Connexion client version 2.0 is targeted for a June release. It will include the availability of institution records and the generation of authority records from local bib records using Z39.50. Availability of earlier versions of authority records has been available since November 2006.
* Because OCLC has master bibliographic records, they can revise the master record by such things as adding MeSH to a record that has only LCSH, changing names when an authority record is updated, or adding summaries and contents. When a personal name is only a $a, the controlling software does not insert the new name in order to avoid replacing an undifferentiated name that is for a different person (per Becky Dean message to PCCLIST on 8 November 2006).
Descriptive cataloging
* The Cataloging Advisory Committee has been working on guidelines for cataloging exhibition publications for many years (perhaps forever). It has been decided to release it in sections. The section on title is now available at http://www.stanford.edu/~kteel/cac/exhtitles.pdf
* The “MARC record recommendations for artist files” document has been revised by the group coordinated by Jon Evans of the MFA Houston. Watch ARLIS-L or other lists for news on its release.
* “cco” is now an established code in the MARC list of descriptive conventions. http://www.loc.gov/marc/relators/reladesc.html
* Sol LeWitt died recently. His NACO record was updated to include the death date. The form of his surname “Lewitt” did not represent the common usage including that in ULAN and Grove Art. I requested that LC re-revise the heading to capitalize the W. If you are updating a heading, please think about the whole heading. While I would still be conservative about revisions, take the opportunity if it’s knocking. See next item.
* LC has issued a draft RI which will lessen the reliance on compatibility which has been in effect since AACR2 was implemented but was most strongly felt in the first couple years of building authority records in AACR2. The comment period ended April 23rd. http://www.loc.gov/catdir/cpso/AACR2-d.pdf
* Ann Jones of the McNay asked how folks indicate that their museum’s artwork is discussed or reproduced in books. An informal poll at the NYC Catalogers Discussion Group revealed that some do not do it at all, the Morgan and others give notes (and rely on keyword searching to find particular artworks), and others do notes with added entries. Ann replied that she will probably follow the last course.
* There was a round of list discussion on whether unique artist books were published. To read the e-conversation, go to http://forums.nyu.edu and enter “arlis-cpdg” in the box. You can “visit” the list without subscribing.
* For those of you that were frustrated by the “Bodin” example in LCRI 26.1, it got fixed in the latest round of revision even though that revision had nothing to do with Eugène Boudin. I can now sleep at night.
* LCRI 24.4B and 26.1 to allow the use of qualifiers as additions to initialisms and acronyms when there is a conflict between a 4XX and a 1XX.
* Is it a series of exhibitions or a series of publications? Several museums publish “Currents.” I have just heard from Lynda Bunting that they don’t consider “MOCA focus” a series, and they treat it as an added title. The series is funded by a particular nine-exhibition grant from the Irvine Foundation. NAF has series records for both “Focus series (Los Angeles, Calif.)” and “MOCA focus” which do seem to represent two MOCA campaigns of publication and/or exhibition.
* LCRI 2.5C2 says “In records created by other agencies or libraries, generally accept the information already in the record unless it is obviously wrong.”
* Followup on LC series decision: Gary Strawn ran some numbers in the Northwestern database and found that 42% of series appeared only once and 16% more only appeared twice. (message on PCCLIST, 14 November 2006)
Subject cataloging
* “Art fairs” has now passed the test and become a full LCSH term. Thanks to Angela Sidman for continuing the tradition of compiling the list of new and revised LCSH from the weekly lists and sending it to ARLIS-L.
* The NAF/SAF & buildings struggle continues. My least favorite recent example is “Lower East Side Tenement National Historic Site (New York, N.Y.)” with a reference from “Lower East Side Tenement Museum (New York, N.Y. : Building).”
* “Indigenous art” has been established and is related in scope notes to “Art, Primitive” and “Ethnic art.” Reminder: “primitive” is not used as an adjective in LCSH when referring to the art of a particular place, only to the overall concept.
* In the notes from the LCSH editorial meeting on Valentine’s Day, LC said they had rejected “Cathedrals, Medieval” and “Church buildings, Medieval” because chronological terms should not be applied to building type terms, only to style terms such as Architecture, Medieval. Reports from the LCSH editorial meeting can be very informative. If you want to subscribe, go to http://www.loc.gov/catdir/pcc/saco/sacolist.html or you can read the 2007 reports at http://www.loc.gov/catdir/pcc/saco/cpsoed/cpsoeditorial.html For example, you could have learned about the January 10th rejection of “Spectacular, The, in architecture.”
* These are a few of my favorite things: Unperfekthaus (Essen, Germany) sh2006004386; Cellular telephones in art (new proposal).
Authorities & NACO/SACO
* The second world-wide review of the Functional requirements for authority data is now underway. The review is coordinated by the Working Group on Functional Requirements and Numbering of Authority Records (FRANAR) of IFLA and the deadline for comments is 15 July 2007. CC:DA is establishing a review task force. I have volunteered to collect responses from my VRa colleagues. http://www.ifla.org/VII/d4/wg-franar.htm
* Reminder: if you’re updating the form of name on a name heading (for example, adding a death date), you should also update the form of name on related name/title headings.
* The authority records for Picard Audap ... were combined into one for “PIASA” per general agreement among the auction catalogers.
* The recent authority record for Ed McGowin has the full panoply of references for the twelve personas he adopted over 35 years. no2007012812 = McGowin, Ed, 1938-
* A CJK NACO funnel has been established. It is coordinated by Shuyong Jiang at UIUC. http://www.loc.gov/catdir/pcc/naco/CJK.html
* The revised LCRI 25.13 for “Manuscripts and manuscript groups” was issued in fall 2006.
* There is now a web proposal form for LC classification numbers. It is available from within ClassWeb. When proposing a new cutter, you should give both the proposed alpha and numeric portions of the cutter (in spite of SCM F50 which says to give only the alpha portion).
* Subfield $u has been implemented for 670 in authority records. Generally speaking, light use of the subfield is recommended. There was a list discussion on PCCLIST in September 2006, starting with Hugh Taylor’s study of non-linking URLs. He found a few typos, some URLs in parenthesis, and use of $a or $b for URL rather than $u. In my opinion, an explanatory description such as “Nelson-Atkins Museum of Art WWW home page” is more helpful than “http://nelson-atkins.org” but Steve Shadle noted that the old URL can be used in the Internet Archive and can help find when a corporate body (or its serial) changed names.
Getty vocabularies
* The Getty vocabularies -- AAT, TGN, ULAN -- are now included in the OCLC Terminologies service though the documentation at http://www.oclc.org/terminologies/default.htm doesn’t yet reflect the recent addition.
* Information about downloading records is available at http://www.getty.edu/research/conducting_research/vocabularies/download.html. This came up in an e-conversation with Liz O’Keefe, Murtha Baca, and Patricia Harpring on direct vs inverted order of names. On the contribution form for ULAN, there is an LC checkbox but “yes” means only the name portion, not the full authorized heading. For more on that, see FRAD.
Miscellaneous
* Various ALA, VRA, and other reports are available at http://artcataloging.net
* After many years of discussing the need or not of a separate cataloging list, one was established after the Banff conference. If you would like to subscribe, go to http://forums.nyu.edu and enter “arlis-cpdg” in the box. Or send your email address to elizabeth.lilker@nyu.edu
* The LC suite of training courses in cataloging and related areas has been expanded to include 1) Metadata Standards and Applications, and 2) Metadata and Digital Library Development. http://www.loc.gov/cds/training.html
* Shared cataloging efforts are taking off in the VR arena. There was a preliminary VRA-L list discussion last fall and a session at the VRA conference in March. A new webspace is being created as a records commons. Because it’s starting now instead of 25 years ago, it can take advantage of clustering, folksonomies, and other recent developments.
N.B. I hope you have enjoyed this romp through the year and found it informative. For many items, I do have a printout of a message or record that might give you more information. If you would like to see such supporting documentation, do not hesitate to ask.
Compiled by Sherman Clarke
sherman.clarke@nyu.edu
__________________________________________
http://artcataloging.net
This is a long list of job postings, I think there are 10 of them. They are all in North America, a couple in the Boston Area. They were taken from the VRA and ARLIS listserves. Hope you find them useful.
POSITION INFORMATION:
Institution: Massachusetts College of Art
Title: Public Services Librarian - Tenure-Track
Applications Due: Open Until Filled
Type: Full-Time
Location: Boston, MA
To view the entire job description, go here:
http://www.higheredjobs.com/details.cfm?JobCode=175234410
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Historic Mount Vernon has established two new positions. Full-time with benefits.
Immediate openings.
Curator of Special Collections
Enhances works on paper collections through acquisition, researching and
using them in interpretive programs. Develops exhibitions and conduct
research. Manages Library/Archives resources -- staff, space, funds, and
technology. Primary responsibility for the books and manuscripts gallery in
a new museum. Donor/lender cultivation. Establishes strategic alliances with
partners.
Requires graduate degree in American history or related subject, with proven
expertise in historic manuscripts, maps, newspapers, and rare books. MLS
degree a plus. At least 5 years of professional experience in special
collections in a library or museum, working at a senior level with works on
paper collections. Experience in organizing and sharing information via new
technologies and in the care and handling of works on paper. Excellent
communication skills. At least two years of managerial experience and strong
exhibitions experience. Requires considerable knowledge of the market for
historic documents and other works on paper. Flexibility, reliability,
ability to meet deadlines. Ability to travel and work beyond a normal work
week a must.
Send resume and cover letter by April 30th to:
Human Resources
Mount Vernon Ladies' Association
P.O. Box 110
Mount Vernon, VA 22121
Fax: 703.780.8320
Email: HRMail@MountVernon.org
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Assistant Curator of Special Collections
Assists Curator of Special Collections in the enhancement of collections.
Develops exhibitions and conducts research.
Requires MA in art history or related field, with proven expertise in
historic prints, photography, and other works on paper. Strong exhibitions
experience. At least two years proven experience with museums or a special
collections library. Familiarity with computer database systems, especially
collections management databases. Excellent communication skills.
Flexibility, reliability, and availability to work beyond a normal work
week. Ability to meet deadlines.
Send resume and cover letter by April 30th to:
Human Resources
Mount Vernon Ladies' Association
P.O. Box 110
Mount Vernon, VA 22121
Fax: 703.780.8320
Email: HRMail@MountVernon.org
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Provenance Index Editor - Getty Research Institute
Researches, creates and edits records using primary and secondary source
material for inclusion in the Getty Provenance IndexR. Supervises the work
of editors, and is responsible for their training. Ensures accuracy of data
by applying thorough knowledge of current best practices in database design;
carefully applies this knowledge to the production of records for electronic
publication. Sets and implements editorial standards, including rigorous
standards for quality assurance and quality control. Sets editorial
priorities and assignments to meet production deadlines. Resolves complex
database and editorial issues. Communicates with current collaborators and
works with key GRI staff to initiate new collaborations as appropriate.
Within the framework of the GRI digital strategy and in collaboration with
other key GRI staff develops and implements new search tools and strategies
for management and provision of access to Provenance datasets. Audits and
advises on both presentational formats and content of the PSCP Web site.
Closely monitors and assesses both users and uses of the Getty Provenance
IndexR. Responds to queries from researchers.
Qualifications: Ph.D. in art history; with work in the history of collecting
and provenance preferred; seven plus years editing, cataloguing, or
comparable experience in the filed of art history; reading knowledge of two
European languages or fluency in at least one European language.
Please send resume and cover letter to:
J. Paul Getty Trust
Attn: Human Resources
1200 Getty Center Drive
Los Angeles, CA 90049
or email resume and cover letter to jobs@getty.edu and indicate "Research
Database Editor IV" in the subject line.
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Digital Specialist
Art Department
The Digital Specialist will assist the Curator of Visual Resources with technical tasks
associated with the development and maintenance of the digital images collection,
including but not limited to:
Processing digital images for inclusion in the VR Collection?s image database using
image software for cropping, enhancing, color correcting and other file manipulation
techniques.
Photographing images from books, periodicals, and other print sources as required.
Archiving digital images using specified storage media and pre-determined archival
practices.
Scanning and processing slides as needed, also preparing them for scanning by an
outside source.
Assisting in the management of digital workflow.
Assisting in cataloging images when necessary.
Requirements:
MLS (candidate) and/or 2 years visual resources experience.
Excellent knowledge of Art History, Decorative Arts History or Architectural History.
B.A in art history or related field preferred.
Experience with digital image processing required (specifically using Adobe Photoshop).
Knowledge and understanding of the technology used in the production and manipulation
of digital images.
Digital and film photography experience strongly preferred.
Attention to detail and service-oriented.
Strong interpersonal skills required.
Ability to commit to one year term.
Position details: Temporary 1 year position, 17 hrs. per week, $15/per hour.
If interested, send cover letter and resume to: Human Resources Office, Wellesley
College, 106 Central Street, Wellesley, MA 02481; or to apply online, please use the
following link: http://careers.wellesley.edu/wellesley/jobboard.
Wellesley College is an Equal Opportunity/Affirmative Action institution and employer.
Successful candidates must be able to work effectively in a culturally diverse
environment. Applications from women, minorities, veterans and candidates with
disabilities are encouraged.
Visit our website at www.wellesley.edu/HR/
Questions may be sent to me directly at mhahn@wellesley.edu
Thanks!
Marci
Marci Hahn
Curator of Visual Resources
Wellesley College
106 Central St.
Wellesley, MA 02481
781-283-3331
http://www.wellesley.edu/Art/VisualResources/
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Coordinator, Intellectual Property
POSITION DESCRIPTION
Is responsible for researching, finding, acquiring (including copyright
clearance), and inventorying materials (such as photographs, maps,
charts, music and text rights etc.) for use in production of videotaped
courses as well as marketing materials. The Coordinator of Intellectual
Property will be a member of the Development and Production Team and
will work under the supervision of the Director of Intellectual Property
to assist producers throughout the entire video production process. The
Coordinator may also work with other departments requesting research and
acquisition, including the Marketing Department.
ESSENTIAL DUTIES AND RESPONSIBILITIES include the following. Other
duties may be assigned.
* Identify, locate, and acquire materials from major
archival/copyright houses, the Library of Congress and National
Archives, and a variety of national and international museums. Establish
best terms for an ongoing business relationship while maintaining image
budget restrictions.
* Maintain a FileMaker Pro database for tracking all images to and
from the image sources.
* Work closely with producers to acquire appropriate materials for
video courses and marketing materials.
* Assist the Marketing Art Director in acquisition of visual
images for the use in print media and negotiate rates within budgetary
restrictions.
* Manage the copyright clearance process, ensuring that TTC is
always in compliance, for both videotape production and marketing
purposes. Includes administrative duties to track permissions, license
agreements, and acquire credit lines for images.
* Meet tight production deadlines for both video production and
marketing materials release dates.
SUPERVISORY RESPONSIBILITIES
None
QUALIFICATIONS
Candidate should also possess the following skills: excellent
communication skills, negotiating skills, and a good aesthetic sense.
Candidate should be detail-oriented, organized, and a good team player
who takes initiative, works well under tight deadlines, and is able to
multitask.
EDUCATION and/or EXPERIENCE
The Coordinator of Intellectual Property must have a minimum of a
Bachelor's degree (Master's preferred) in liberal arts (Art History,
Literature, History, Library Services, etc.) or Fine Arts. The ideal
candidate will have a minimum of one (1) year of direct experience in
the fields of rights research/acquisition and copyright clearance or
work experience in an archive or image library. Familiarity with
graphics software (Adobe PhotoShop) and hardware (slide scanner,
flatbed/transmissive scanner, copystand, and digital camera) and the
ability to use basic office software applications (FileMaker Pro, Word,
Excel, etc.) is required. Fluency in a foreign language considered a
plus.
Send cover letter with salary requirements; resume via-email to
daudf@teachco.com
Our website www.teach12.com
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April 16, 2007
VACANCY NOTICE
NSCAD University Halifax, NS Canada
[Hide Quoted Text]
POSITION: Library Technician, Visual Resources Collection
SALARY RANGE: RANK 0 Minimum of $32,363.53 UNION: FUNSCAD Unit II
DEPARTMENT: Library - Visual Resources Collection
HOURS OF WORK: Regular Full-Time, 35 Hours per week, Monday to Friday, 8:30 a.m. to 4:30 p.m.
POSITION SUMMARY
The Library Technician, Visual Resources Collection, is responsible for assisting in the delivery of library services in a dynamic environment. Reporting to the Director of Visual Resources, the Library Technician performs duties related to reference, circulation, cataloguing and processing materials in both analog and digital formats. The Library Technician provides instruction in the use of the Visual Resources Collection and also ensures the implementation and application of adequate health and safety policies and practices. The Library Technician supervises the area in the Director> '> s absence.
In addition to the above responsibilities, the Technician will maintain the Collection , including preserving and repairing materials, photographing materials as needed, processing borrowed materials, and advising patrons on the use of materials.
SPECIFICATIONS
A Librarian Technician diploma, an undergraduate degree, and a minimum of one year of employment experience in a library required. (Preference will be given to applicants who have taken courses in Art History or Fine Arts.)
The following skills are required:
* Proficiency in database and word processing applications.
* Knowledge of contemporary cataloguing standards and practices (e.g. AACR2 and CCO).
* Research skills using print and electronic resources.
* Awareness of current and emerging new technologies including digital imaging.
Interpersonal skills and the ability to communicate effectively are absolutely essential to this position.
This position requires constant attention to detail and accuracy. These standards must be maintained in an environment of frequent interruptions.
The NSCAD University Visual Resources Collection is comprised of over 140,000 slides, a growing collection of films, videos and DVDs, as well as sound media. The Collection supports all teaching areas of NSCAD and is expanding to include digital resources.
Applications from FUNSCAD Unit II will be given priority consideration until April 20, 2007.
Interested candidates may submit applications to the Director of Human Resources, NSCAD University, 5163 Duke Street, Halifax, NS, CANADA B3J 3J6. Deadline for all applications: April 27, 2007.
NYIT seeks a full time librarian for its Art & Architecture Library. Reporting to the Director of Branch Services, the Art librarian works a as a member of a collaborative staff providing information and collection content services in support of the universitys architecture, design and graphic arts programs. Provides reference, research and instructional services, both traditional and electronic; faculty outreach; design, delivery, and assessment of special and ongoing projects related to the collection and web-based projects; flexibility in assisting with circulation desk coverage, serials management and other library operations required. Identifies and promotes new digital resources and provides instructional services to students and faculty.
Qualifications: Candidates must possess an ALA accredited Masters in Library Science. A background and/or degree in art history along with university academic library experience is strongly desired. Ability to work collegially, be responsive to student needs, and work independently on projects is required. Candidate is expected to have competencies in a full range of text and electronic services in the arts and related areas. Excellent organizational and time management skills, and demonstrated commitment to providing excellent public services in a university academic environment. Salary and academic rank commensurate with experience.
Applications should include a letter of interest and a current resume/vita. Review of applications will continue until position is filled.
Send to humanresources@nyit.edu
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Archivist and Head of Public and Technology Services
Black Film Center/Archive
Indiana University
The BFC/A is one of the leading repositories of black film history and culture in the world.
The successful candidate will:
administer the daily operations and services of BFC/A; serve as collections development officer; maintain and preserve collections; maintain website and the BFC/A filmography database; administer the acquisition, maintenance, and upgrade of computer hardware and software; work with Director and staff in producing Black Camera; conduct tours and present orientations to students, faculty, and visiting groups; assist the Director in planning and executing BFC/A programs; supervise staff and recruit volunteers from the School of Library and Information Science at IU.
Required Qualifications: A masters degree in library science required, with specialization in archives, special collections, or records management desirable. Competencies in communication skills, advanced computer skills, office management, and at least 2-3 years of archives experience. Begin: July 1, 2007.
Preferred: Experience in an academic library or archives; interest in black film studies; and knowledge of Microsoft Access.
Closing Date: May 10, 2007
For additional information and to apply please visit www.jobs.indiana.edu ( http://www.jobs.indiana.edu/ ). Please submit resume, cover letter, and 3 references.
Michelle Fleener
Fiscal Officer/Department Manager
African American & African Diaspora Studies
IndianaUniversity
(812)855-3874
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Public Services Coordinator
Pratt Institute Libraries
Under minimal supervision, and with moderate latitude for independent
judgment, ensure that public services run efficiently by providing
appropriate supervision and direction for staff and students. Professional
duties include supervision and scheduling of the circulation desk and staff,
providing bibliographic instruction to help foster information literacy, and
promoting the Libraries and their services through public relations
strategies within and outside the Institute.
For a full position description, please consult
http://www.pratt.edu/newsite/xfer/jobs/print.php?ID=32977
Please e-mail your cover letter and résumé, with the names and contact
information for three professional references, indicating position code PSC
in the subject line, to libsearch.pubsvc@pratt.edu .
For those of you interested in the history of photography: YouTube has a 10 minute video clip about the restoration of the home of Nicephore Niepce - it is very interesting and worth watching. The link is: http://www.youtube.com/watch?v=WAcTHpuqQIs
Leigh Gates posted this announcement to ARLISlist and I thought it might be worth sharing - sounds like an interesting resource.
The Art Institute of Chicago has recently announced the preliminary launch of its new online database of objects from its collections. You may examine it from the Collections "home page" where you may browse by collection categories or search for specific objects.
To many, this site will appear to be quite familiar but there are a number of very significant changes:
* There are now 2,565 object records - the web site has increased the old number fourfold.
* For the 1,747 objects where copyright review has been completed, full screen enlargements of the objects' images may be viewed.
* As before, straightforward searches can be done, but more exacting searches can be conducted using a more fields than before.
* When a record is found for an object on public view, its gallery number is indicated.
* Provenance, Exhibition History, and Publication History are listed when approved by curatorial staff.
This launch is welcome even though the web site is still being analysed for functionality and response time. There will be a few more elements added in the coming days, including some text pages describing the grouping of objects presented online and differentiating this from the entire collection of the Art Institute. There will also be some additional "Searching Tips" added to make the user experience a bit better.
Thom Hill of Vassar's art library has been making regular podcasts of interviews that he has conducted at a site called The Library Cafe. In a recent note to the ARLIS list he mentions an interview about academic art book book publishing in a permissions culture. The guest is University of Chicago Press Art & Architecture editor Susan Bielstein, author of Permissions, A Survival Guide: Blunt Talk about Art as Intellectual Property.
This isn't really news but you may have heard that the Smithsonian and Corbis had announced that they had reached a "non-exclusive" licensing partnership "to provide widely recognized digital images from the Smithsonians collections for editorial and commercial use at www.corbis.com." Smithsonian Corbis Licensing Agreement This announcement, coming as it did on the heels of a fire-storm of protest when the Smithsonian announced a similar agreement with Sony, caused the archival community to write again and express concern. The pdf file attached below is the response that SAA received (dated 5 March 2007) which was circulated to the SAA leadership today.
Arezoo Moseni recently posted this to the ARLIS-Listserve. It is an interesting resource to know about.
M i d - M a n h a t t a n L i b r a r y Presents
"Ask the Lawyer"
An Artist Career Development Lecture
Presented in cooperation with
Volunteers Lawyers for the Arts
Monday April 9, 2007
6:30 p.m. on the 6th floor
Mid-Manhattan Library
The New York Public Library
40th Street and 5th Avenue
New York, NY 10016
212-340-0871
The Art Collection is pleased to host the fifth lecture in the series addressing the growing needs and concerns of independent creative workforce in New York City.
This interactive panel presentation with a question-and-answer format will cover a wide array of legal and business issues with an overview of the major legal topics affecting artists and professionals within arts organizations. The topics to be addressed include:
• Intellectual Property (copyrights primarily)
• Contracts
• Entity Choice and Formation including
nonprofit and for profit options.
Elena M. Paul is the Executive Director of the Volunteer Lawyers for the Arts. In addition to overseeing all of VLA's programs and services, Ms. Paul represents many individual artists and arts organizations. She received her B.A. in Economics from Davidson College, phi beta kappa, and her J.D. from Harvard Law School. In 2000 she was elected to serve as a Wasserstein Public Interest Fellow at Harvard Law School.
Alexei Ormani Auld is the Director of Legal Services for VLA, where he specializes in intellectual property matters oriented toward film, music, visual arts and related industries. He graduated Phi Beta Kappa from Howard University (B.A. 1994, summa cum laude) where he majored in History and Columbia Law School (J.D. 1998).
Elevators access the 6th floor after 6p.m.
All events are FREE and subject to last minute change or cancellation.