CI 2017 Schedule 2017-08-08T09:51:14+00:00

Collective Imagination Schedule

Regardless of your skill level, Collective imagination will leave you inspired, with fresh perspectives on collection and museum technology.

Key Dates Details
February 1, 2017 Early Bird Registration Begins
September 15, 2017 Early Bird Registration Ends
November 17, 2017 Standard Registration Ends
December 4, 2017 Pre-conference Workshops Day 1
December 5, 2017 Pre-conference Workshops Day 2
December 6, 2017 Day 1 of Conference

Evening Reception

December 7, 2017 Day 2 of Conference
December 8, 2017 Day 3 of Conference (Morning)

Museum Tour (Afternoon)

What to Know Before You Go

Collective Imagination 2017 will be held at the OMNI Los Angeles at California Plaza, located at 251 S Olive St, Los Angeles, CA. Sessions will take place in the Bunker Hill, Hershey, Bradbury and Crocker rooms.

Registration opens at 8:30 am on December 6, 2017. Coffee and tea will be served.

Conference Breaks and Lunch

Breaks will be provided between sessions throughout the day, and coffee and tea will be available for conference attendees.

Conference Sessions

Keynote: Collections Management in an Experience-Driven World

Collections are the reason we are here; they are our mission. We manage, preserve, and care for them, we put them on a pedestal and take pictures of them.  We use our collections to tell stories, to educate, and to enrich.

Collections are the reason our audiences visit us, but there are changing expectations about what that experience should be. We are engaged in an increasingly-challenging competition for the attention of our audiences, so “the game is afoot” as we work to define what it means to be a 21st century collecting institution in an experience-driven world. What are the strategies and paradigms in this battle for engagement? How can we give our audiences want they want? Should we be giving them what they want?  How do we define and promote engagement in this world, and what does all this mean for the collection tools we have at our disposal?

None of these questions may be answered to your complete satisfaction, but it will be fun and informative to try.


Nik Honeysett, Chief Executive Officer, Balboa Park Online Collaborative

TMS + CMS = CRM: Using the Events Module as a Contact Management System and a Customer Relationship Management Tool

The Peabody Museum of Archaeology and Ethnology developed TMS’s Events module to serve as a Customer Relationship Management system. We use it to process photo orders, manage research requests and visits, facilitate objects used in class, track analytical sampling projects, and even manage the museum’s extensive NAGPRA consultations and compliance efforts. Digitizing paper records and moving towards a paperless workflow allows us to add very rich and extensive data to the event records.


David Debono Schafer, Senior Collections Manager, Peabody Museum of Archaeology and Ethnology, Harvard University

The Dynamic Duo: Building Dynamic Reports for TMS with Crystal Reports

Like many other institutions, The Morgan Library and Museum utilizes TMS to generate reports using templates prepared in Crystal Reports. But the reports and forms we desire most – loan agreements, condition reports, and exhibition checklists – need to be highly dynamic. Instead of typesetting each block of text or each checkbox, the Morgan leverages Crystal Reports’ powerful capabilities to make reports flexible and easy to maintain. This presentation will dissect some of our most complicated reports to look at the underlying structures and formulae, and allowing attendees to step up their Crystal Report skills.


Chad Petrovay, TMS Administrator, The Morgan Library & Museum

How Do You Handle Cinematographic Works? An Example of Best Practice within the d:kult Network

How do we deal with new and upcoming standards and rules, like the European Standard EN 15907 “Cinematographic Works Standard”, the new FIAF Cataloguing Manual or RDA (Resource Description and Access)? What are the benefits and how can we implement them into our ongoing work to document film history within the d:kult network? The paper describes the existing way of managing metadata of cinematographic works, explains possible changes and adaptions with regard to the new standards and rules.


Margret Schild, Head of the Library, Culture Department of the City of Düsseldorf

Don't Touch the Walls: Using TMS's Sites Module to Document Historic Structures

Using the Intrepid Sea, Air & Space Museum as a case study, this session will explain how stewards of historic spaces can use the TMS Sites module to catalog and track condition issues or restorations. The Museum, located in New York City, is based on a World War II aircraft carrier that was decommissioned in 1974. In 2011, the Museum received an IMLS grant to systematically document every compartment on the ship—something that had never been done in the 30-year history of the Museum. The collections team used the Sites module to catalog historic spaces, furniture, artifacts and graffiti throughout the ship. These records have proven to be helpful as areas of the ship have been changed or restored. The records have also served as the basis for a three-dimensional scanning project that will improve accessibility. This session will benefit other institutions that need to document historic spaces or grounds that don’t quite fit into the traditional object record.


Ann Stegina, Collections Manager, Intrepid Sea, Air & Space Museum

Using TMS as a Tool of Transparency and Communication for Outgoing Loans

When the Menil Collection receives an outgoing loan request, there are 20 potential points of data that must be considered while reviewing request and object for loan approval. Through static object requirements in the Conservation module and changing object requirements in the Loan module, the conservation and registration departments work together in TMS to indicate pending and approved outgoing loans. TMS is used to streamline, schedule, and share data about outgoing loans with multiple departments, using status flags, data entry, and reports. One point of data entry leads to possibilities for multiple extractions, including for annual report submissions, member newsletters, curatorial board reports, and registration forms and documents.


Julie Thies, TMS Administrator, The Menil Collection

Constituents: The Names behind the Objects We Collect

Philadelphia Museum of Art, we are researching & documenting the “living artists” in our collection. This project began in 2015 and grew out of discussions in our Contemporary Caucus, a group tasked with exploring topics surrounding contemporary art. With the cooperation of the Contemporary Department, we are capturing biographical data about living artists in our collection. In addition to this research, we have reviewed our existing data of over 60,000 constituent records to establish standards and augment our data. During this discussion, learn the process behind merging constituents, capturing the various metadata, using the package explorer, the creation of attributes, and potential ways we intend to use the data.


Renee Bomgardner, Database Standards Administrator, Philadelphia Museum of Art

Thinking Outside of Collections: Using TMS to Manage Information Across a Small Institution

As a small institution with just 4,500 objects and a dozen administrative, museum, and programming staff, Shangri La: Museum of Islamic Art, Culture & Design doesn’t have the complex data needs of a large institution with donors, frequent incoming and outgoing loans, and rotating galleries (yet!). However, we do have collections and data outside of our object collection that benefited from cataloging and tracking to increase their accessibility inside the institution. In the last few years, our collections staff mapped out how TMS could be used to organize this information and make it available to those outside of the collections team. We worked with consultants and Gallery Systems staff to import and implement many of these changes. In this talk, I’ll show how we activated underutilized TMS modules to manage non-object collections and data to benefit staff and workflows across the institution, particularly with the Bibliography and Events modules. I’ll examine how we use the Bibliography module to catalog and track the materials in our art library and allow researchers and staff to search and browse for materials, and the Events module to track historical and current public programming and educational activities.


Bethany Bannister-Andrews, Collections and Digital Assets Manager, Doris Duke Foundation for Islamic Art

2014: A Digitization Odyssey

In 2014 the Museum of History, Anthropology and Art of the University of Puerto Rico embarked on a NEH funded project to digitize 4,000 Puerto Rican posters and make them available online. For this project the Museum implemented TMS and eMuseum for the first time. Processing posters posed unique difficulties when it came to cataloging and digitizing. We will be discussing how we worked with the Curator to establish specific subjects, the challenges of working inside of a university setting and of working in a bilingual environment.


Alana Aymat, Collection Database Coordinator, Museo de Arte de Ponce

Tania Rodriguez, Assistant Registrar, University of Puerto Rico, Museum of History, Anthropology and Art

Off the WALLS and Out the Door

The Williams College Museum of Art formed a new collection in 2012 and called it WALLS (Williams Art Loan for Living Spaces). This collection, unlike most, was created with the main purpose of leaving the museum each academic semester, and entering the living spaces and lives of students. Learn how registrarial staff use TMS to manage, track and archive this collection, through the use of the barcoding module and both object and constituent text entry fields.


Diane Hart, Senior Museum Registrar, Williams College Museum of Art

Rachel Tassone, Associate Registrar, Williams College Museum of Art

TMS Media Studio and the Museum of Fine Arts, Houston: From Concept to Operation

The Museum of Fine Arts, Houston received an IMLS grant to photograph a sizeable number of its objects and to create an interface between TMS and its existing DAMS. Midway through the grant, Gallery Systems announced the development of their own DAMS, TMS Media Studio, which would be more than an interface. It would be part of TMS itself. Working closely with Gallery Systems, the MFAH became one of the first museums to deploy Media Studio. This session will describe the process of working with Gallery Systems developers to configure and fine tune Media Studio to provide digital asset distribution, workflow and rights management solutions. The session will also demonstrate a few practical applications learned along the way.


Matthew Lawson, Digital Assets Administrator, Museum of Fine Arts, Houston

Marty Stein, Photographic and Imaging Services Manager, Museum of Fine Arts, Houston

Dave Thompson, TMS Administrator, Museum of Fine Arts, Houston

Teachable TMS: Students, Staff, and TMS at Chapman University

Many users of TMS are small institutions where Collections Management staff might also have several other roles and limited time to spend working with the system. As a small academic institution, we have benefited from our student staff working in TMS. Our presentation draws on our experience and strategies for teaching TMS to student staff, and is intended to benefit institutions that rely on part- time, temporary staff through sharing effective teaching and quality assurance methods.


Lindsay Shen, Director of Art Collections, Chapman University

TMS Metadata Inside Out

How the Getty Manages Data Flow: Learn how the Getty uses TMS combined with home grown processes to efficiently manage the flow of collection information and media assets to various consumers of content. Going beyond simple binary flags denoting in-house vs. public use, we are translating complex business rules into more nuanced filtering algorithms which control how data is disseminated and influences image derivative generation processes. Curators, Registrars, and Imaging staff play an active role in dictating how information from TMS feeds a variety of downstream applications, both public and private.


Brenda Podemski, Principal Project Specialist, The J. Paul Getty Museum

Fighting Back Against Fakes: Using TMS to Create the Catalogue Raisonné of Richard Diebenkorn

Shortly after the death of Richard Diebenkorn in 1993, fake Diebenkorns began to appear at Knoedler Gallery. The family was advised to create a catalogue raisonné in order to provide dealers, auction houses and collectors with a means to ascertain the authenticity of works in the secondary market. Richard Grant, the artist’s son-in-law, was asked by the family to oversee the project. This is the story of how The Museum System was selected and used to deliver to Yale University Press the formatted catalogue pages for 5,500 works. The entries included provenance, bibliographic entries and exhibition history, all generated on the fly from the TMS database. The project took twenty-two years and for the last decade employed a full-time staff of nine. The final product is a 4-volume, 2,100 page set of books that is the largest, most comprehensive catalogue ever published by Yale or printed by Trifolio Press in Verona Italy.


Richard Grant, Executive Director, Richard Diebenkorn Foundation

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