Schedule2018-09-17T08:21:16+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
April 1, 2018 Early Bird Registration Begins
December 1, 2018 Early Bird Registration Ends
March 25, 2019 Standard Registration Ends
April 8, 2019 Pre-conference Workshops Day 1
April 9, 2019 Pre-conference Workshops Day 2

Speakers Reception

April 10, 2019 Day 1 of Conference

Evening Reception

April 11, 2019 Day 2 of Conference

After Party

What to Know Before You Go

Collective Imagination 2019 will be held at the Radisson Blu Royal Hotel, located at Golden Lane, Dublin 8, Ireland. Sessions will take place in the Goldsmith’s Hall 3, Field Suite, Swift Suite, and Pearse rooms.

Registration opens at 8:30 am on April 10, 2019. Breakfast is included with hotel room rates.

Conference Breaks and Lunch

Refreshment breaks will be provided between sessions throughout the day, and coffee, tea and snacks will be available for conference attendees. Attendees will be provided with lunch at the Brasserie de Verres en Vers.

Conference Sessions

Conference sessions are being added daily. Check back often.

From Kiosks to Linked Data: the Digital Cataloguing and Management of the National Gallery’s Collections

Keynote

In 1990, The National Gallery’s on-site, self-contained Microgallery was at the cutting edge of the digital presentation of collections. In 2000, we became the first UK museum to adopt TMS, since when we’ve used the system to manage our collections, but not to catalogue them – we still use printed books. In 2019, with a recently-appointed director, we wish to publish rich, deep, digital information about our collections. I will talk about how we’ve used TMS to manage our collections, catalogue them, and present them to our audiences in the past; what we’re doing now; and our plans for the future.


Rupert Shepherd, Collection Information Manager, National Gallery, London

Archives and TMS: Configuring, Cataloguing, Cleaning, and Communicating

M+ policy has always been equality between our collections, whether artworks, design objects, moving image, or archives. For collections management and curatorial access, this means managing them on the same CMS. This presentation, by the Database Manager and the Archivist at M+, demonstrates how we configured TMS to catalogue archives according to ISAD(G), cleaned up a mass of legacy issues that had built up prior to this change, and how we are now working with our digital team and software developers towards making our archival collection available online on the same basis as our art, design and architecture, and moving image collection.


Kevin Forkan, Archivist, M+

Jim Whittome, Database Manager, M+

How to Move 45,000 Objects in Less than a Year

In an effort to standardize and streamline the process of moving over 45,000 objects out of the Eskenazi Museum of Art for a renovation, we utilized various aspects of TMS. Our presentation would cover the use of the barcode manager, the crate/container function, as well as several reports that allowed us to complete our move in less than four months. This presentation will be led by Kelli Thomas, Emma Fulce, and Heather Hales.


Kelli Thomas, Collections Specialist, Eskenazi Museum of Art, Indiana University

Heather Hales, Associate Registrar, Eskenazi Museum of Art, Indiana University

Emma Fulce, Collections Specialist, Eskenazi Museum of Art, Indiana University

An Efficient and Reliable Workflow? Practicalities and Technicalities Using TMS and Conservation Studio

TMS Administrator Hilde Bøe and Registrar Tine Haislund will present the practicalities and technicalities of  the Munch Museum workflow for exhibitions, loans and conservation in TMS and Conservation Studio. This workflow was developed the workflow to accommodate the needs of curators, registrars and conservators as well as to save resources. The Munch Museum is organising more exhibitions and lending and borrowing more artworks than ever before, so we really need an efficient and reliable workflow.


Hilde Bøe, TMS Administrator, Munch Museum

Tine Schmidt Haislund, Registrar, Munch Museum

File Cards Go Online: Unveil the Dark Spots of KHM History

In 1938 the Central Depot for Confiscated Collections contained thousand of objects from Viennese art collections, which were confiscated by the Nazis after March 1938 from their Jewish. Until July 1940 the Kunsthistorisches Museum (KHM) in Vienna managed the Central Depot. Thereafter, until the depot´s closure, the Institute for Monument Protection was in charge. Both institutions used file cards to catalogue the looted art objects. In order to make these sources publicly available, we scanned and transliterated the sources and added them to the general KHM database TMS. TMS works as the backend database for the website and joins the datas of both institutions. For the provenance research community we implemented an access-level where the scientific community can add related information. Relevant additional information will gradually be added to the public website and TMS. The online edition aims at building historical consciousness and making provenance research in Austria more visible. Since summer 2018 the website is bilingual. Link: http://www.zdk-online.org/


Peter Kloser, Administrator, Kunsthistorisches Museum 

TMS at the Met

At the Met, TMS lies at the center of a complex system of workflows, administrative processes, and integrations that are integral to the day to day operation of the Museum. This is a high-level overview of these processes, including our integration with our digital asset management system, our website, and how we use TMS for loans, exhibitions, and acquisitions. We will also take a brief look at some of the tools we use to supplement our processes, like using Jira for tracking our work, Confluence for our documentation, and PowerBI for visualizing our data.


Ashley Hall, Manager of Collections Information, The Metropolitan Museum of Art 

Getting the Most from your Crate Storage by Using TMS Shipping Module

Like many museums, the Delaware Art Museum needed to overhaul an overcrowded and under-organized crate storage space. The registrars realized that the time and energy spent in evaluating crates for retrofits could be avoided. The current set up and workflow made it difficult to know which crates were on site, much less available for use. We set out to use the information within our TMS Shipping Module to help solve this problem. Learn how the museum used our existing systems to help evaluate, catalog, and organize empty crates. Now we have the ability to optimize space, save time, and reduce future costs for outgoing loan borrowers. Our hope is that other museums, even small and mid-sized, can use our process to have the same effect in their own institution.


Allison Nicks, Registrar, Delaware Museum of Art

Publishing Collection Records Online: FlexFields for Improved Workflow, and Using Data to Determine Priorities.

Like many museums, the Delaware Art Museum needed to overhaul an overcrowded and under-organized crate storage space. The registrars realized that the time and energy spent in evaluating crates for retrofits could be avoided. The current set up and workflow made it difficult to know which crates were on site, much less available for use. We set out to use the information within our TMS Shipping Module to help solve this problem. Learn how the museum used our existing systems to help evaluate, catalog, and organize empty crates. Now we have the ability to optimize space, save time, and reduce future costs for outgoing loan borrowers. Our hope is that other museums, even small and mid-sized, can use our process to have the same effect in their own institution.


Carol Clark, Collections Database Administrator, Saint Louis Art Museum 

There and Back Again: Exhibition Data and Workflows at LACMA

The Los Angeles County Museum of Art (LACMA) has installed over 170 exhibits over the past five years – both traveling and non-traveling. Due to such a high volume of data, staff work together to leverage TMS during the process of planning, tracking, install/deinstall, and traveling shows. Our current system produces a web of data across the object, exhibition, loan, and shipping modules as well as utilizing dozens of crystal reports to produce everything from checklists to loan agreements to crate labels. Interdepartmental workflows converge in TMS with data entry and management spread between Registration, Curatorial, Exhibition Planning, and Collection Information & Digital Assets. This session will be an overview of our loaned exhibition workflow from a show’s approval to final dispersal, exploring how we use TMS in our collaborative approach to data management.


Amanda Dearolph, Database Administrator, Los Angeles County Museum of Art

Monique Abadilla, Senior Assistant Registrar, Los Angeles County Museum of Art

Technical Solutions for Everyone: How the Getty Uses Accessible Technology to Manage TMS Data

At the Getty Museum the Collection Information & Access department works closely with museum partners to manage collection data and enhance its access. One of the major benefits of a large institution is that such a department exists, however many of the solutions developed to manage collection information can be accessible to all institutions and those in technical or non-technical positions. This discussion will explore a few key examples of recent TMS data projects that relied on practical and intelligible technology to increase efficiency, enhance interfaces, and ensure data integrity. Development of these data projects is facilitated by coherent communication between the CI&A department and information technologists, registrars, and curators.


Alexandra Bancroft, Technical Support Specialist, The J. Paul Getty Museum 

TMS Media Studio: Security, Migration, and Going-Live

The Museum of Fine Arts, Houston will present their third in a series of CI presentations discussing their long journey into digital assets management and the implementation of Media Studio. This presentation will focus on how TMS security departments and groups proved to be of key importance in planning how Media Studio would be used, along with issues related to the migration of assets from their legacy DAMS into Media Studio, and how the implementation has been received since going-live.


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

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

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

The Bicycle (Museum) Thief: How Stolen Collection Objects Brought a Reevaluation of Data Capture at the Bicycle Museum of America

Julie Ahlers and Micayla Gray, of Crown Equipment Corporation and the Bicycle Museum of America respectively, explore the ways in which they utilize TMS to capture data for a multitude of objects and to manage their interconnected corporate and museum collections. Following a break-in and resulting theft in May of 2018 at the Bicycle Museum of America, they describe how they have come together to improve overall data quality, achieved a greater degree of specificity and consistency across their collection body as a whole, and have worked to optimize workflow processes for a small staff responsible for a diverse array of TMS tasks.


Julie Ahlers, Sr. Executive Assistant to Chairman-CEO, Crown Equipment Corporation

Micayla Gray, Museum Coordinator, Bicycle Museum of America

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