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Art Tracks at Keystone DH

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A talk on how we're structuring provenance for computers, and discovering the potential of provenance for DH research. Slides were built largely by David Newbury with supplememtnation from Tracey Berg-Fulton. Tracey Berg-Fulton delivered this presentation at the Keystone Digital Humanities conference at the University of Pennsylvania on July 24, 2015

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Art Tracks at Keystone DH

  1. 1. Art Tracks Carnegie Museum of Art July 24, 2015
  2. 2. The Art Tracks Team: Tracey Berg-Fulton Data Nerd (@BergFulton) David Newbury Lead Developer (@workergnome) Travis Snyder Collections Database Administrator
  3. 3. Our Advisors: Neil Kulas Head of Digital Louise (Lulu) Lippincott, Ph.D Curator, Fine Art Costas Karakatsanis Provenance Researcher And many other advisors
  4. 4. What is Art Tracks? An Institute of Museum and Library Services (IMLS) project to digitize and visualize provenance information. —Three year project —80% complete
  5. 5. HAVE YOU SEEN THIS MAN? Pietro Perugino, St. Augustine with Members of the Confraternity of Perugia, c. 1500. Carnegie Museum of Art, Acquired through the generosity of Mrs. Alan M. Scaife.
  6. 6. Augustus Wijnantz, Interieur van de Gotische Zaal, paleis Kneuterdijk, Den Haag, met de schilderijencollectie van Willem II, 1846, Rijksmuseum, Acquired 1995.
  7. 7. Digital Provenance Records at CMOA Durand-Ruel, Paris, August 23, 1872 [1]; Catholina Lambert, New Jersey; Lambert sale, American Art Association, Plaza Hotel, New York, NY, February 21, 1916 until February 24, 1916, no. 67; Durand-Ruel, Paris, until at least 1930; purchased by Simon Bauer, Paris, by June 1936 [2]; anonymous sale, Parke-Bernet Galleries, Inc., February 25, 1970, no. 19 [3]; Sam Salz, Inc., New York, NY; purchased by Museum, May 1971. NOTES: [1] bought from the artist. [2] Listed and illustrated in "List of Property Removed from France during the War 1939-1945" (no. 7114, as belonging to Simon Bauer). [3] "Highly Important Impressionist, Post-Impressionist & Modern Paintings and Drawings", illustrated.
  8. 8. What is good about Provenance right now? —AAM standard. —Internet Archive, Gallica, HathiTrust, etc. —NEPIP portal. —Getty Provenance index.
  9. 9. Unlawful Appropriation —Created before 1946 —Were acquired by the museum before 1932 —underwent a change of ownership between 1932 and 1946 —were or could have been in Europe between 1932-1946
  10. 10. What is good about Provenance right now? —AAM standard. —Internet Archive, Gallica, HathiTrust, etc. —NEPIP portal. —Getty Provenance index.
  11. 11. What's not so good about provenance? —Provenance isn’t searchable. —Provenance isn’t (really) standardized. —Provenance research is hard. And expensive. And slow.
  12. 12. What are the existing global standards? AAM suggested standard ...the provenanace is listed in chronological order, beginning with the earliest known owner. Life dates of owners, if known, are enclosed in brackets. Uncertain information is indicated by the terms "possibly" or "probably" and explained in footnotes. Dealers, auction houses, or agents are enclosed in parentheses to distinguish them from private owners. Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to seperate two owners (including dealers, auction houses, or agents) if a direct transfer did not occur or is not known to have occured. Footnotes are used to document or clarify information. Nancy H. Yeide, Konstantin Akinsha, and Amy L. Walsh. The AAM Guide to Provenance Research. American Association of Museum, Washington DC, 2001, pp. 33-34.
  13. 13. What are the existing global standards? —Text, usually in the AAM standard form. —NGA, Smithsonian have structured records in TMS.
  14. 14. National Gallery of Art, Washington, DC
  15. 15. The Walters Art Museum, Baltimore, MD
  16. 16. Indianapolis Museum of Art, Indianapolis, IN
  17. 17. Breaking down provenance
  18. 18. Acquisition Methods: Controlled Vocabulary —"purchased by" —"gift of" —"by descent to" purchased by Simon Bauer, Paris, France, by 1936 [2]; [2] Listed and illustrated in "List of Property Removed from France during the War 1939-1945" (no. 7114, as belonging to Simon Bauer).
  19. 19. Acquisition Methods:
  20. 20. Party: Name, life dates, titles, relationships —Walter P. Chrysler, Jr. [1909-1988] —Michel Monet, his son —Thomas George Baring, 1st Earl of Northbrook purchased by Simon Bauer, Paris France, by 1936 [2]; [2] Listed and illustrated in "List of Property Removed from France during the War 1939-1945" (no. 7114, as belonging to Simon Bauer).
  21. 21. Party:
  22. 22. Location: Building, City, State, Country —New York, NY —France —Highclere Castle, West Berkshire, England purchased by Simon Bauer, Paris, France, by 1936 [2]; [2] Listed and illustrated in "List of Property Removed from France during the War 1939-1945" (no. 7114, as belonging to Simon Bauer).
  23. 23. Location:
  24. 24. Dates: Period of ownership —January 1, 1995 —until the 15th century —sometime between 1885 and 1895 until 1950 purchased by Simon Bauer, Paris, France, by 1936 [2]; [2] Listed and illustrated in "List of Property Removed from France during the War 1939-1945" (no. 7114, as belonging to Simon Bauer).
  25. 25. John Doe, 1995
  26. 26. John Doe, by 1995
  27. 27. John Doe, after 1995
  28. 28. John Doe, until 1995
  29. 29. John Doe, until at least 1995
  30. 30. John Doe, until sometime before 1995
  31. 31. John Doe, in 1960
  32. 32. John Doe, 1950 until 2000
  33. 33. Footnotes: Additional descriptive information —Durand Ruel stock no. D1343 —See curatorial file for more information —Her birth name was Ellen Mary Cassatt purchased by Simon Bauer, Paris, France, by 1936 [2]; [2] Listed and illustrated in "List of Property Removed from France during the War 1939-1945" (no. 7114, as belonging to Simon Bauer).
  34. 34. What should it look like? { "id": 1011873, "category": "Painting", "medium": "oil on canvas", "title": "The Full-Length Mirror", "accession_number": "65.17.1", "image": "http://it-svr-emu03/imucma/imu.php?request=multimedia&irn=10183", "creation_date": "1910-01-01", "artist": { "name": "Pierre Bonnard", "location": { "lat": 48.69096, "lng": 9.14062, "name": "Europe", "geonameId": 6255148 } },
  35. 35. What should it look like? —JSON API —LIDO —Linked Open Data —Unstructured text blobs
  36. 36. JSON API Application Programming Interface A machine readable interface for accessing the collections information at CMOA.
  37. 37. LIDO Lightweight Information Describing Objects XML based data format Current best practice for museum data interchange Used by Google Art Project, among others
  38. 38. Linked Open Data CIDOC-CRM CIDOC Conceptual Reference Model ICOM standard for museum Linked Open Data For connecting to external information For publishing information for others to link to Aspirational: future of museum data
  39. 39. Unstructured Text Human readable Will need to be supported indefinitely Current state of Collection Management Systems
  40. 40. How are we getting from here to there? —CMOA provenance standard —museum_provenance —Elysa
  41. 41. CMOA provenance standard Formalization of AAM standard Designed for both human and machine readability Same structure, just stricter Document available at: museumprovenance.org/standard
  42. 42. museum_provenance github.com/cmoa/museum_provenance
  43. 43. Elysanot yet released Released June 24, 2015.
  44. 44. github.com/cmoa/elysa
  45. 45. Check yourself —Death is permanent. —Babies generally don't own art. —Dates are tricky, but provide a check and balance. —Timelining exhibition data highlights opportunities for ownership clarification. Simon Vouet, The Toilet of Venus, c. 1640, Carnegie Museum of Art, Gift of Mrs. Horace Binney Hare.
  46. 46. What have we done? —Created a digital standard for provenance —Developed a way to digitally publish provenance (almost) —Data visualizations to help inform
  47. 47. What have we learned? —Linked Open Data is essential to do this well —We need to link our CMS and provenance via an API —We need to think about institutional authority —We need a bibliography standard for provenance
  48. 48. What have we learned? —Museums are not thinking about provenance in the context of digital humanities. —The amount of information is intimidating. —Our data is not as good as we think it is.
  49. 49. What haven’t we done? —Fixed the provenance research problem —User-friendly search interface —Made sharing this information easy —Linked the data to other authorities
  50. 50. Next Steps: —EDTF Support. —LOD for entity disambiguation. —Bibliography support. —Deploy Elysa at other institutions. —Start working with multi-museum collections. —The Northbrook Project.
  51. 51. How can you help? —Connect our institutions. —Students —Contacts —Shared data —Give us software feedback. —Publish your provenance. —Help others find provenance (github.com/ provenancecollaborative)
  52. 52. STAY IN TOUCH museumprovenance.org github.com/cmoa Twitter: @BergFulton, @Workergnome Detail of H. Rebele, Bob, the Vigilant Fire Company's Dog, 1863, Carnegie Museum of Art, By appropriation.

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