An important step of the digitization workflow is post-production. This step always performed after the actual digital asset is created, hence the prefix “post”. This crucial process allows us to make minor adjustments for things like light and color, as well as cropping the dimensions to match the work being viewed. Sometimes, this is as simple as matching the rectangular edge of a TIFF file to the edge of a rectangular painting. Other times, this is more complicated, with works that are not perfectly square, are three-dimensional, or have other non-standard edges. In any case, it is our job to produce and maintain these cleaned up images—what we would call “access files” for broad dissemination to our audiences. These files are unique and distinct from our archival “master files,” which do not get the ‘post-production’ treatment and are kept for posterity.
It has been a slow task, with the need to go through and edit images one by one, but we are nearly finished. In fact, the Museum is almost ready to integrate these legacy files with the newly photographed works of art taken this year.
About the Institute of Museum and Library Services
The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit https://www.imls.gov/and follow us on Facebook and Twitter.
One of the more interesting groups of works in PAFA’s collection that is being digitized for our current IMLS grant is a set of personal Polaroids taken by Andy Warhol. These were largely created during the 70’s and 80’s and whose subjects include what seem like friends, models, and Warhol himself, all in various poses and stages of attire and undress that, when seen together, read like something between art reference photos and contemporary social media posts. Returning figures include named entities like “Kimiko Powers,” “Mr. Black,” or “Ted Hartley,” among other unidentified individuals. Some feel candid, while others clearly posed and staged, but something about them all feel both intimate and enigmatic. Within PAFA’s larger permanent collection, with its historic slant and focus on traditional techniques and subjects, these entries are certainly unique.
About the Institute of Museum and Library ServiceThe Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit https://www.imls.gov/and follow us on Facebook and Twitter.
We are nearing the end of the weeks-long process of renaming the files in our digital collection. As mentioned before, this work was important for establishing a file naming convention/schema to improve its usefulness and accessibility both internally and externally. Doing so is one of many parts of our IMLS grant project, and so far, has included a combination of automated computer scripting via Python, and slowly combing through the filenames by hand.
With this combination of tools, we were able to confidently correct the names of approximately 16,000 files, which was a huge step forward for the project and PAFA’s collection team. During this process, however, we identified over 1,000 files that were either unnecessary duplicates or were files that did not carry with it enough information to adequately identify them in our database.
These duplicate and mystery files arose from the old folder structures that we are no longer using and have recently phased out as part of this file renaming process. Formerly, things could hide and get copied, moved, updated, and renamed without any meaningful way to ensure that outdated or unnecessary files are removed. In the process of migrating files to fewer sub-directories, which use only their unique accession number to identify them, it became immediately clear which files need review and correction, beyond a simple renaming.
Once the duplicates were double checked, they were easily discarded. The unknown files, however, we had no way of knowing how important any given file might be. Out of a commitment to thoroughness the collections team decided to work together to identify several hundred of these files, often by finding some physical works in our storage vault that could be related. Only after reasonable certainty could be reached would we know for sure how to rename (and then either keep or discard) these mystery files. This process alone took around two weeks but has resulted in a repaired digital archive that is ready for the introduction of our new high-resolution photography from this year.
About the Institute of Museum and Library Services
The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit https://www.imls.gov/and follow us on Facebook and Twitter.
The Museum Collections Team is pleased to introduce L Autumn Gnadinger (they/them/theirs), who will be stepping into the role of the Museums Collections Assistant through the remainder of the IMLS grant project. L is an artist, writer, and educator with a background in museum work. They earned their MFA from Tyler School of Art and Architecture and have previously studied at Indiana University Southeast in New Albany, IN and Transylvania University in Lexington, KY. L is a former Core Fellow of Penland School of Craft in Bakersville, NC, and an editor and co-founder of the journal Ruckus, which engages art in the American Midsouth and Midwest.
With a range of experience in photography, design, and file management stemming from their work with Ruckus, L will be helping PAFA with its core goals of photographing works of art in the permanent collection, updating the file management connected to the permanent collection, and finally testing out the new content management system for the new—forthcoming—online collection.
About the Institute of Museum and Library Services
The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit https://www.imls.gov/and follow us on Facebook and Twitter.
In addition to rephotographing the permanent collection, the other goal of our current IMLS grant is the streamlining and unification of our file management and file naming systems for our digitized collections. Given PAFA’s long history and the many hands that have made the Museum possible since its founding, there have been many different organizing schemes to keep the collection in order, and since the advent of digitized collection and databases, many more still to keep the file names organized.
In 2022, we have inherited many generations of images and information, and to best carry them forward in a safe and useful way—and to prepare for the migration to a new database soon—we need to reorganize and rename all the files in our digital collection.
To summarize the issue: every artwork is different, and over the years the file names of PAFA’s digital collection have prioritized different information like artwork names, artist names, year of creation, names of donors, location the image was taken, conservation notes, and finally, the accession number, just to name a few. Our goal was to standardize these file names with what they all have in common and what is most unique to them—their accession number.
This number, generally, is a compound of many different pieces of information such as the year PAFA acquired it, which acquisition group or gift did a work come to PAFA through in that year, and what number in each group is the artwork itself (among other pieces of information). From this number, we can easily link a specific artwork to any corresponding information we have about it in our database.
Take the number 2004.20.4, which is the accession number for the work Conjunction by Romare Bearden. We might find this filename in our database as “BEARDEN-2004_20_4.tif,” which, can certainly be used to correctly identify this work as it has done since it was acquired by PAFA in 2004, but even the addition of the last name of “BEARDEN-” as a prefix to the accession number makes for clunky cross-system use when not all the other file names match this same scheme.
The process for us to rename all these files, on paper, is simple enough. We just need to look for their accession number in the file name (usually buried under or inside of other unnecessary information) and replace all of this with just the simple accession number by itself. But this becomes immediately complicated as we find accession numbers that are formatted differently from one another or use version codes that are inconsistent with each other year to year.
To do this by hand, file by file, is, of course, technically possible but would be incredibly tedious and time-consuming. Thankfully, we have found a way to write and implement custom computer code (more commonly called a “script”) to automate most of this process using the programming language Python.
Python is an incredibly flexible and powerful coding language, and through a variety of techniques, we have been able to instruct these custom scripts to automatically identify what is (and isn’t) a PAFA accession number among other kinds of information inside of a file name, and then delete what isn’t wanted or required. The script also helps us flag files that don’t have a proper accession number at all, or have more complicated naming issues, which we can then set aside to look at by hand. The result, after applying the script to over 26,000 files, is a unified and easy to use set of file names, and a database overall that is ready for migration to a new and better system.
This blog post is part of an ongoing series about Digital Collections that we are able to undertake thanks to a grant from the Institute of Museum and Library Services (IMLS).
About the Institute of Museum and Library Services
The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit https://www.imls.gov/and follow us on Facebook and Twitter.
Summer in Philadelphia may be winding down, but things at PAFA are just starting to ramp up as we begin the early fall season. There is a lot to catch up on from just the last several weeks: the moving of the outdoor sculpture Grumman Greenhouseby Jordan Griska after 11 years on Lenfest Plaza, installation and prep of our upcoming showsEvade or Ensnare and Making American Artists, as well as fall classes at the school starting back up this month. And things with the IMLS Project Team is just as busy. We’ve continued working all summer on the most challenging phase of the IMLS grant project, photographing the permanent art collection.
We’ve changed course from photographing 2D works to taking photographs of the 3D works specifically in the Museum’s Sculpture Study Center (SSC). In this gallery, there is a wide array of objects in various mediums, each with their own set of challenges for documentation. Additionally, since the SSC is open to the public during Museum hours, we only have a limited number of days per week when things are closed to setup a temporary photography environment, work through as many objects as possible, and then break down again to make way for visitors.
We soon realized photographing sculptures presented other challenges in our workflow. First, art handling works on paper compared to 3D sculpture was dramatically different. Some works were fragile, while others were solid and sturdy. Art handling for sculptures made from bronze, stone, plaster, terracotta, or wood all proved challenging and required us to be really careful as some works were hundreds of years old or some were very heavy. The material/color of each sculpture also required different backdrops and lighting. We ended up planning our days around dark and light colored sculptures so we didn’t need to change the backdrop often. And finally, since a single 2D image cannot fully represent all viewing angles of a 3D space, each sculpture is being photographed at least ten times: four side views, four quarter angle views, and two 1/8th angle views. The effect of this will be a very useful (approximate) 360-degree global view of each artwork.
This workflow requires staff to move a—potentially very heavy—object, refocusing the camera by hand, adjusting the lighting, and finally, taking the image. Overall, it has been a slow but rewarding process, and we feel the finished images will provide a much more comprehensive set of digital assets—for future researchers and the general public—to view online.
In fact, the usefulness of a more comprehensive set of viewing angles has been immediately clear as we have spent time with each object. A good example might be any of the several Abraham Lincoln life masks currently on view in SSC. Aside from being interesting objects by themselves, they—like many of the objects in PAFA’s collections—have a variety of notes, marking, and surprising armatures on their reverse sides, that might not always be visible to the public, but all contribute to the unique character and story of each work.
We will soon be turning our attention to back to Works on Paper (WOP) and different aspects of the IMLS grant but we have enjoyed our time with the objects in SSC this summer and hope you will too the next time you are visiting the musem or browsing the new and forthcoming online collection.
This blog post is part of an ongoing series about Digital Collections that we are able to undertake thanks to a grant from the Institute of Museum and Library Services (IMLS).
About the Institute of Museum and Library Services
The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit https://www.imls.gov/and follow us on Facebook and Twitter.
Contributed by Hoang Tran, Director of Archives & Collections
As George Orwell wrote in 1984, “Who controls the past controls the future. Who controls the present controls the past.” For this reason, archivists play an essential role in preserving the memory and legacy of people, places, and things. Archivists are only one part of the equation. We need the help of scholars, historians, genealogists, and curators to guide our decisions on what materials should be preserved for posterity.
But what happens when records are not preserved? Moreover, who gets to be remembered and who is forgotten?
Using PAFA’s archives, I have been assisting the descendant of Susan H. Bradley (1851-1929) conduct genealogical research. Together, our work attempts to raise awareness of Bradley’s influence on the Philadelphia and Boston art scene during the late 19th and early 20th centuries.
Contributed by Hoang Tran, Director of Archives & Collections
How time flies! It has been a year since we were awarded the IMLS grant. It seems fitting that I take this chance to provide an overview of all the changes and activities that have been completed so far.
The first major update is in regards to staffing changes. HoJun who served as the Project Museum Collections Assistant decided to leave the project early. In his place, we were fortunate to hire an amazing candidate, L Gnadinger. L is an artist, writer, and educator originally from Louisville, KT who has experience with art handling, writing, and arts administration. We’re happy to have L join the IMLS project team!
We’ve completed the first round of cataloging for all permanent works in PAFA’s collection. The main emphasis for this round of cataloging was to obtain accurate biographical information—life dates, place of birth, nationality, gender, race, etc. This round also included ensuring all objects had at least one subject access point, standardized date, copyright information, and of course, no spelling errors.
Photographing the collection has been challenging due to the staff change, technology problems, and institutional commitments. However, we managed to bounce back rather quickly when we switched to photographing 3D works (sculpture) in the second half of the summer. To date, we have photographed 82 small/medium sized sculptures (21%). In the past, we took 1-3 photos of a sculpture in a frontal view only. This time, we decided to photograph the sculpture 10 times to create a full 360 degree view of the work. We believe this added work would not only help PAFA document the work better, but also help curators and researchers view other markings such as a signature or date that is typically on the back of a sculpture.
PAFA’s legacy files are stored in a complex web of folders with tiff and jpg files intermixed with unconventional file naming standards. L has taken on the immense task of digital file management. Fortunately, L has Python programming skills that proved to be invaluable for this task. After a few weeks of brainstorming, testing, and team meetings, L was able to get a grasp of what the best approach would be.
I’ve been working closely with PAFA’s Registrar, Danielle McAdams, who is assisting with the CMS implementation phase of the project. The data migration and implementation of a new CMS is largely done by the vendors. We are currently reviewing the vendor’s feedback for crosswalks that aren’t compatible with the new CMS and determining if we require anything more customized for our needs. So far, there hasn’t been any major issues.
Contributed by HoJun Yu, Project Museum Collections Assistant, and Hoang Tran, Director of Archives
As America’s first museum and art school, it is important for PAFA to remain relevant particularly in the digital age. Broadening online access to the works of art is one step in the right direction, but also providing greater accessibility for users to engage and use the resources is another important aspect of the institution’s mission.
The work being done for this grant project provides the essential framework for PAFA’s long-term goal of migrating the museum’s collection into the public domain. PAFA aspires to join the growing global initiative of more than 200 institutions worldwide that have moved towards digitizing and providing unrestricted use of their collections.
We are in the process of figuring out the best way to display rights statements and/or licenses for works in PAFA’s collection. Part of HoJun’s work is conducting a survey of peer institutions that have successfully implemented Open Access (OA) initiatives such as The Metropolitan Museum of Art, Art Institute of Chicago, and Cleveland Museum of Art. We also reviewed MoMA and the Whitney to see how they are publicizing rights statements–the two museums directly state the names of parties in control of reproduction rights; on the other hand, places like the Smithsonian simply state use Creative Commons license, particularly Creative Commons Zero (CC0–no rights reserved).
It must be said that as museum collections staff, we are not experts in copyright law. In fact, copyright is highly complex and it is important that everyone working with copyright protected materials adhere to current US copyright laws. We as collections staff have been studying and examining best practices on handling digital resources and respecting artists rights.
For this phase of the project, there are two essential data points that we are currently focusing on which his required to properly interpret/assess copyright 1: the date of creation; 2: date of creator’s death. HoJun is focused on reviewing all works with questionable or missing dates and updating life dates for artists. Our ultimate goal with this information is to help us make a more informed decision as to which works are still protected by copyright and which works are no longer protected by copyright. Of course, nothing ever comes easy! PAFA’s collection includes many works by “unidentified artists” and works with “unknown dates”. For these outliers, we’ll need to be extra vigilant in assessing their copyright status.
About the Institute of Museum and Library Services
The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit https://www.imls.gov/and follow us on Facebook and Twitter.
Contributed by HoJun Yu, Project Museum Collections Assistant
My first glimpse of museum collection photography began when I was employed at the Metropolitan Museum of Art. At the Met, I worked on a similar grant funded project that gave me the opportunity to see how works of art were photographed by collection staff. I was thrilled about the possibility of doing such work myself when I was hired by PAFA.
As PAFA’s collection photographer, Adrian Cubillas has provided me guidance, supervision, and support in learning the intricate processes for photographing works of art. The first phase of the project would focus on photographing works on paper. During the first few photographing sessions we photographed unframed and unmatted prints.
It was great working with another photographer who brought his perspective and experience in collection photograph. He walked me through all the basics of photographing an artwork and once I learned the essentials, we were able to speed through the work as he and I are both photographers. Even though I have been a photographer for quite some time now, I have been learning about new techniques as most of my photographic work involves people, rather than objects.
Using studio lights to photograph works of art can take much meticulousness, as we need to accurately capture the brightness and colors. The most challenging part has been troubleshooting the glares we come across every now and then, especially with prints that have more reflective surfaces. Once again, as Adrian and I are both photographers, combining our knowledge and efforts has been helping significantly. To troubleshoot such problems regarding the glare, we adjusted the angles of the strobe lights. Rather than lighting up the artwork directly, we decided to turn the strobes around to bounce them off the walls. By doing so, we were able to reduce the glares that kept appearing especially on photographic prints.
Another obstacle that we encountered was the condition of some of the prints themselves. While most of the prints we have been photographing have been relatively flat, the rest have seemed to retain a slight curl from being previously rolled up. The curl posed a minor problem as certain parts of the print will not be not be completely sharp. To solve this, we simply went with a slightly deeper, wider depth of field to make sure all parts of the print were in focus. While convenient, changing the depth of field requires subtlety and care. If the depth of field is too deep, the ISO will have to be increased, which will consequently produce a photograph with more noise. The changes in the depth of field need to be conservative and as small as possible.
For the first month of photographing, we managed to photograph 85 works on paper.
About the Institute of Museum and Library Services
The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. We advance, support, and empower America’s museums, libraries, and related organizations through grantmaking, research, and policy development. Our vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit https://www.imls.gov/and follow us on Facebook and Twitter.
