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An ambitious and experienced Licensing and Project Manager, well respected for knowledge of multiple facets of the Arts and Culture industries. Extremely methodical with strong data analysis skills and a proven track record of achieving deadlines on multiple projects. Thrives in fast-paced roles, combining art and design expertise with excellent interpersonal skills. Strong team player who enjoys collaborating with third parties in order to contribute innovative and creative ideas for continual growth and improvement. Technical experience includes Microsoft Office with advanced level of Word and Excel, Adobe suite especially Lightroom, bespoke content management systems, digital asset management systems.
● Created standard for image licensing with an updated Terms & Conditions section. ● Updated licensing fees to reflect current value of work and broader trends in image licensing. ● Maintain current archive system of negatives, transparencies, prints, and books. ● Catalogue images using Lightroom Software (Adobe Suite). ● Create hi res scans of negatives/transparencies for archival and licensing purposes. ● Coordinate locations and equipment hire for upcoming book on London Theatres. ● Assist Mr. Moore on photoshoots, especially with the set-up and manipulation of on-location lighting. ● Co-copyedited captions and text for book Horses: A Portrait. ● Create and maintain a filing system for Derry Moore Photography and Derry Moore’s personal files. ● Contact licensees to ensure timely payment of invoices to Derry Moore Photography. ● Troubleshoot technical problems with scanning and cataloguing software. ● Update image database including current locations of physical and digital copies. ● Identify parts of the archives for rehousing, digitization and scanning.
● Coordinated concurrent digitization projects: ▪ photography and cataloguing of the D’Oyly Carte Archive containing 2,000+ costume/set designs, ▪ photography of the entire Theatre & Performance Department’s shoe collection, ▪ photography and cataloguing of the British Film Institute acquisition. ● Liaised with Photography Studio to ensure that the objects being photographed were efficiently prioritized with the goals of the Theatre & Performance Department. ● Coordinated the digitization team to ensure that items were being catalogued to meet project deadlines. ● Ensured that all items catalogued meet the V&A's 'minimum standard', which required information input into over 20 different fields. ● Completed charts to track progress and logistics of projects. ● Catalogued items for the collection as well as researching creators, artists, actors, etc. to enhance V&A cataloguing terminology. ● Assisted members of the public in the Theatre & Performance Archive’s Reading Room and facilitated the public’s use of the V&A’s collection by answering questions about the collection and retrieving items as needed. ● Responded to e-mail/post enquiries and directed members of the public towards the best use of the collection and further resources. ● Organized and coordinated the Theatre & Performance Department’s annual ‘Spot Check’: ▪ liaised with the Collections Management Department to ensure that objects were in their correct locations and that museum storage policies were being followed, ▪ coordinated and delegated to staff areas of the collection to check in preparation for ‘Spot Check’ by ensuring that items were in their listed location, ▪ identified parts of the collection that were ‘problem areas’ and needed to have their location confirmed, ▪ achieved a 100% on the ‘Spot Check’ for 2016.
● Researched and prepared collection records from the V&A’s catalogue and contributed 4,000 records to the Europeana Fashion Portal. ● Accurately updated catalogue records, especially rights information, in the catalogue management system. ● Co-curated the Europeana ‘Tumblr’ page. ● Worked closely with the V&A's IP Manager and with a Curator in the Fashion & Textiles Department to update object rights according to current law and the V&A's risk management policy. ● Following Europeana Fashion IP guidelines, I sought permission from or liaised with rights holders to ensure that image of objects could go onto a third-party website without infringing copyright. ● Updated and enhanced catalogue records both internally and for the public site: ‘Search the Collections’. ● Mapped data to link terminology in the catalogue records with the Europeana Fashion thesaurus. ● Accurately transformed and migrated data from the V&A’s catalogue to the Europeana Fashion site. ● Met strict deadlines for content contribution to the Europeana Fashion site.
● Examined and analyzed fashion photography. ● Correctly identified the garments, textiles and construction techniques in each photograph. ● Undertook additional research to correctly identify images or correct ‘Miscellaneous’ images. ● Utilized existing taxonomy to maintain consistent standards. ● Worked methodically on own initiative to achieve daily and weekly targets.
● Worked with a team to efficiently relocate the Textiles & Dress collection to off-site storage. ● Guided storage management for collection objects following Collections Management guidelines. ● Worked with a team to remove all of the carpets, have them cleaned, rolled and installed in the Clothworkers’ Centre. ● Assisted in the proper packing, handling and installing of objects from the fashion and textile collection. ● Researched relevant books to create the library in the Clothworkers’ Centre
● Researched, compiled, and wrote-up a literature review of current design practices relating to body armor focusing on interdisciplinary and user-led design. ● Analyzed current design methods in fashion and product design and compiled a report outlining the most relevant methods for the project brief. ● Created a qualitative data analysis model for use in workshops relating to the development of body armor.
• Guided students through the BA Dissertation process including: determining appropriate topic matter, advising on academic writing style, and advising on proper sources and referencing. • Met with students bi-monthly to discuss and advise on progress. • Co-led pre-submission presentations providing final feedback. • Marked and evaluated completed dissertations.
● Assisted the Curator and Assistant Curator on daily operations. ● Researched and sourced appropriate images, film stills and related texts. ● Proofread exhibition catalogue and label text. ● Researched, located and purchased relevant props for inclusion in the exhibition. ● Transcribed interviews. ● Created a detailed object list for each object included in the exhibition.
● Worked with a team to locate and retrieve library materials for patrons in a timely manner. ● Acted as Retrieval Leader to check-in and distribute retrieved material. ● Repressmarked books. ● Consolidated and reorganized collection storage.
The History of Design course was a 2-year full-time taught program with a final disseration of 25,000-30,000 words. My dissertation was titled: Fashion in Conflict: World War I, Haute Couture, and the Fashionable Body.
Major: Theatrical Design (Costume and Lighting), Minor: Spanish Senior Research Project: ‘The Great Depression: Clothing and Social History’ (culminating as the Costume Design for ‘John Steinbeck’s: The Grapes of Wrath’)