War Bride by Clarence Holbrook Carter, 1940 © Estate of Clarence Carter. Photo Credit: Richard Stoner.
Things said infrequently to the Curator of Fine Arts: “We need to talk about marriage.”
As we begin Art Tracks, one of the first tasks is identifying each person, or party, who was involved in the transfer, movement, and custody of an artwork before it came to Carnegie Museum of Art.
Then we have to build a timeline of each party’s movements over their lifetime, and associate a distinct location identifier for each movement. Currently, we’re using Geonames as our authority, though the Getty Thesaurus of Geographic Names (TGN) just became linked-open-data. Using an authority helps us be explicit that we’re talking about the Paris in France, and not Paris, Ontario, Paris, Texas, or Paris, Togo. Continue reading
Inside the digital media lab of Carnegie Museum of Art. Click to enlarge image. Photo: Jeffrey Inscho.
The Digital Media Lab at Carnegie Museum of Art is attempting to structure provenance and exhibition history data so curators, scholars, and software developers can create dynamic visualizations that answer impossible questions—and we’ve assembled a talented team to do it. But of course that’s a fairly simplified explanation of the project. To better understand exactly what we are looking to accomplish, I need to delve deeper.
For instance, have you ever wondered how artworks arrive at a museum? I’m not talking about the physical logistics of art object transportation, but rather the journey over time and space that artworks make to arrive at a particular museum at a particular moment in time? Continue reading