This talk, given at the Yale Center for British Art on February 27th, 2017, discusses how Art Tracks, CMOA’s National Endowment for the Humanities-funded digital provenance project, was formed through the combined efforts of technologists, curators, and provenance researchers. We provided an overview of the project, discussed our current research of the Northbrook Collection, and shared insights about the collaboration that resulted from this cross-disciplinary project.
Video is available at http://britishart.yale.edu/multimedia-video/27/4261
8377087607, Door Step Call Girls In Gaur City (NOIDA) 24/7 Available
21st Century Provenance: Lessons Learned Building Art Tracks
1. Standardizing Museum
Provenance for the
Twenty-First Century
Lessons Learned Building Art Tracks
David Newbury
Yale Center for British Art
February 27th, 2017
Standardizing Museum Provenance — David Newbury (@workergnome) 1
2. Thank you all for
inviting me here to talk.
Standardizing Museum Provenance — David Newbury (@workergnome) 2
3. Art Tracks, Phase I
Funded by the Institute of Museum and Library Services.
ca. 2013-2015
Originally, Art Tracks was
a data visualization project.
Only, we didn't have data.
Standardizing Museum Provenance — David Newbury (@workergnome) 3
4. Traditional Provenance
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.
Standardizing Museum Provenance — David Newbury (@workergnome) 4
12. What comes next?
Collaboration and formalization
through Linked Data.
Standardizing Museum Provenance — David Newbury (@workergnome) 12
13. Why do museums
need Linked Data?
(When thinking about
their collections.)
Standardizing Museum Provenance — David Newbury (@workergnome) 13
14. Linked Open Data.
I'm not here to
talk about if we
should share our data.
Standardizing Museum Provenance — David Newbury (@workergnome) 14
15. Why do museums
share their data?
Standardizing Museum Provenance — David Newbury (@workergnome) 15
16. Are museums
Publishers?
Yes.
But we do more than publish
information—we generate our own.
Standardizing Museum Provenance — David Newbury (@workergnome) 16
17. Are museums
Researchers?
Yes.
But we don't generate random
information, we research specific
objects.
Standardizing Museum Provenance — David Newbury (@workergnome) 17
18. Museums
are Collections.
We don't just collect.
We research, collect, and preserve
information about our objects, as
well as the events, people, and
topics that give them context.
Standardizing Museum Provenance — David Newbury (@workergnome) 18
19. The Promise of Linked Data:
[The] creation of a common framework that allows data
to be shared and reused across application, enterprise,
and community boundaries, to be processed
automatically by tools as well as manually, including
revealing possible new relationships among pieces of
data.
— W3C Semantic Web Working Group
Standardizing Museum Provenance — David Newbury (@workergnome) 19
20. Linked Data:
Where is this
magical future?
Standardizing Museum Provenance — David Newbury (@workergnome) 20
21. What doesn't Linked Data do?
Enable
Web Scale AI
Standardizing Museum Provenance — David Newbury (@workergnome) 21
22. What doesn't Linked Data do?
Create Easy
Interoperability
Standardizing Museum Provenance — David Newbury (@workergnome) 22
23. What doesn't Linked Data do?
Automate
Reconciliation
Standardizing Museum Provenance — David Newbury (@workergnome) 23
24. What doesn't Linked Data do?
Reduce
our Workload
Standardizing Museum Provenance — David Newbury (@workergnome) 24
25. An awkward
moment goes here.
(This could be a very short talk.)
Standardizing Museum Provenance — David Newbury (@workergnome) 25
26. Linked Data is
not a magic bullet.
It's one of a many possible abstract
data models, each of which have
tradeoffs.
Standardizing Museum Provenance — David Newbury (@workergnome) 26
27. Art Tracks, Phase II
Funded by the National Endowment for the Humanities.
ca. 2016-2017
How to express provenance information as:
• Linked Open Data
• JSON data structure
• Standardized text
All three forms must contain
the same information, and
we must be able to convert
between them.
Standardizing Museum Provenance — David Newbury (@workergnome) 27
34. Mary Cassatt, Young Women Picking Fruit.
Carnegie Museum of Art.
Standardizing Museum Provenance — David Newbury (@workergnome) 34
35. Mary Cassatt, Young Women Picking Fruit.
Carnegie Museum of Art, 1894.
Mary Cassatt [1844-1926], France; Galeries Durand-Ruel,
Paris, France, by August 1892 [1]; Durand-Ruel Galleries,
New York, NY, 1895; purchased by Department of Fine
Arts, Carnegie Institute, Pittsburgh, PA, October 1922.
Notes:
[1]. Recorded in stock book in August 1892.
Standardizing Museum Provenance — David Newbury (@workergnome) 35
37. Mary Cassatt, Young Women Picking Fruit.
Carnegie Museum of Art, 1894.
Mary Cassatt [1844-1926], France; Galeries Durand-Ruel,
Paris, France, by August 1892 [1]; Durand-Ruel Galleries,
New York, NY, 1895; purchased by Department of Fine
Arts, Carnegie Institute, Pittsburgh, PA, October 1922.
Notes:
[1]. Recorded in stock book in August 1892.
Authorities:
Mary Cassatt: see http://viaf.org/viaf/2478969/
Galeries Durand-Ruel: see http://viaf.org/viaf/153354503
Durand-Ruel Galleries: see http://viaf.org/viaf/134060200
Department of Fine Arts, Carnegie Institute: see http://viaf.org/viaf/147742484
France: see http://vocab.getty.edu/tgn/1000070
Paris, France: see http://vocab.getty.edu/tgn/7008038
New York, NY: see http://vocab.getty.edu/tgn/7007567
Pittsburgh, PA: see http://vocab.getty.edu/tgn/7013927
Standardizing Museum Provenance — David Newbury (@workergnome) 37
38. Reason #1:
Linking to Other
Authorities
and the Local Heroes Problem
Standardizing Museum Provenance — David Newbury (@workergnome) 38
39. Authority,
Identity, & Trust.
We're making authoritative
assertions about identity.
We want to be the "source of truth"
for the objects in our collections.
Standardizing Museum Provenance — David Newbury (@workergnome) 39
40. Authority isn't free.
Maintaining authority takes
enormous time and resources.
Standardizing Museum Provenance — David Newbury (@workergnome) 40
41. The world is vast.
To fully describe everything that
connects to our collection, we
must describe the universe.
Standardizing Museum Provenance — David Newbury (@workergnome) 41
42. Budgets are...less vast.
How can we be authoritative
without being encyclopedic?
Standardizing Museum Provenance — David Newbury (@workergnome) 42
43. Asserted Authority.
When you want to be
the authority of record
for something or someone.
Standardizing Museum Provenance — David Newbury (@workergnome) 43
44. Delegated Authority.
When you want to point to
someone who you trust to be
the authority of record.
Standardizing Museum Provenance — David Newbury (@workergnome) 44
45. Reluctant Authority.
When you cannot find
an authority you trust.
Standardizing Museum Provenance — David Newbury (@workergnome) 45
47. Mary Cassatt, Young Women Picking Fruit.
Carnegie Museum of Art, 1894.
Mary Cassatt [1844-1926], France;
Galeries Durand-Ruel, Paris, France, by August 1892 [1];
Durand-Ruel Galleries, New York, NY, 1895;
purchased by Department of Fine Arts, Carnegie Institute,
Pittsburgh, PA, October 1922.
Notes:
[1]. Recorded in stock book in August 1892.
Authorities:
Mary Cassatt: see http://viaf.org/viaf/2478969/
Galeries Durand-Ruel: see http://viaf.org/viaf/153354503
Durand-Ruel Galleries: see http://viaf.org/viaf/134060200
Department of Fine Arts, Carnegie Institute: see http://viaf.org/viaf/147742484
France: see http://vocab.getty.edu/tgn/1000070
Paris, France: see http://vocab.getty.edu/tgn/7008038
New York, NY: see http://vocab.getty.edu/tgn/7007567
Pittsburgh, PA: see http://vocab.getty.edu/tgn/7013927
Standardizing Museum Provenance — David Newbury (@workergnome) 47
48. Reason #2:
Shared Semantics
How do we know we're talking about the same thing?
Standardizing Museum Provenance — David Newbury (@workergnome) 48
49. JSON Data
Structure
This is understandable,
If you're me.
But you're not me.
Standardizing Museum Provenance — David Newbury (@workergnome) 49
50. Linked Data as
Documentation
When I say "Transfer of Custody",
I mean...
Standardizing Museum Provenance — David Newbury (@workergnome) 50
51. JSON-LD &
CIDOC-CRM
This is more complex,
but that complexity
is documented.
Standardizing Museum Provenance — David Newbury (@workergnome) 51
52. What about
the gaps?
Nothing is comprehensive.
Standardizing Museum Provenance — David Newbury (@workergnome) 52
55. Galeries Durand-Ruel, Paris, France, by August 1892 [1];
Notes:
[1]. Recorded in stock book in August 1892.
Authorities:
Durand-Ruel Galleries: #1 http://viaf.org/viaf/134060200
Paris, France: see http://vocab.getty.edu/tgn/7008038
Standardizing Museum Provenance — David Newbury (@workergnome) 55
63. To Recap:
1. Shared Authority
2. Shared Understanding
3. Easy Collaboration
4. Planning for the Future
Standardizing Museum Provenance — David Newbury (@workergnome) 63
66. Thank You.
For more information, visit:
www.museumprovenance.org
Initial funding for Art Tracks was provided in part by a generous grant by the
Institute of Museum and Library Services. Funding for Phase II has been
provided by the National Endowment for the Humanities with additional
research support provided by the Samuel H. Kress Foundation and the
Paul Mellon Centre for Studies in British Art.
Standardizing Museum Provenance — David Newbury (@workergnome) 66