Weekly Jobs Roundup

Here’s our weekly roundup of new jobs. As always, they go up immediately on their own page. Happy hunting!


Call for What We’re Reading Submissions

We know how difficult it can be to keep up with current museum literature during your busy everyday life, particularly if you no longer have a syllabus to guide you. Our goal is to provide our readership with up-to-date information about a wide variety of topics that people actually find useful.

Each week, we put out a call to you for suggestions of items worth reading, such as:

  • news articles
  • blog posts
  • graphics
  • journal articles

If you come across something relevant, please submit it to us (along with a few short sentences about why you think it is particularly helpful) at tufts.museum.blog@gmail.com. We will post your suggestions as they come in, as well as adding them to our permanent What We’re Reading page.

So, please keep your eyes peeled and keep us in mind when you find something interesting!

Just as a reminder, the What We’re Reading page also compiles some helpful blogs that are worth checking regularly.

Weekly Jobs Roundup

Here’s our weekly roundup of new jobs. As always, they go up immediately on their own page. Happy hunting!



What We’re Reading: “The Custodians”

Today’s “What We’re Reading” post comes to you from Ingrid Neuman, Tufts professor of the course Collections Care and Preservation and Conservator at the RISD Museum

“The Custodians: How the Whitney is transforming the art of museum conservation”, The New Yorker, January 11, 2016

This article by Ben Lerner, a 2015 MacArthur Fellow, discusses the history of art conservation, and juxtaposes traditional techniques with the newest challenges facing conservators of contemporary art. In specific, he chronicles efforts at the Whitney Museum to evaluate unstable contemporary art works and determine the justification for replacement parts or replication –  the action of which has direct implications for the future maintenance, classification and description of the work thereafter.

The critical question which reverberates through the entire article is: at what point does a work of art become no longer the “original” due to replacement or re-fabrication of  parts?

This article clearly presents the extraordinary challenges conservators of contemporary art must navigate which sometimes run counter to the traditional ways conservators operate within the museum context.  The topics of reversibility, the original state, prototypes and future technological capabilities are all very timely and important topics with which students within the field of Museum Studies, and particularly those interested in Collections Care, should become familiar.   The care of contemporary art is still very much an emerging field and will continue to pose very important challenges and deep philosophical conversations within the field, and with living artists, as we work together to preserve contemporary art now and into the future.

FREE Event: Discussion on Current Events of Monument Destruction

Tuesday, March 1, 6:00 pm

Destroying Images: Current Iconoclasm in Context

James Simpson, Chair, Department of English and Donald P. and Katherine B. Loker Professor of English, Harvard University

The destruction of iconic images and monuments—iconoclasm—carried out today by extremists representing a wide range of political and religious views, makes many recoil in horror. This response, however, is in part derived from the fact that our Western cultures have themselves been fiercely iconoclastic. James Simpson will discuss the six classic phases of iconoclasm in European history and highlight the role that museums have played in protecting objects from major iconoclastic events. From this history, he will put current iconoclasm into perspective.


Lecture. Free and open to the public.

Co-sponsored by the Peabody Museum of Archaeology & Ethnology and Harvard Semitic Museum

Geological Lecture Hall, 24 Oxford St., Cambridge, MA 02138

Free event parking is available at the 52 Oxford Street Garage.