Map of the globe shows lines crossing between different spots on the map. The lines show how art has moved from place to place.

Digital Provenance Symposium 2017

Carnegie Museum of Art hosted Digital Provenance Symposium 2017 to showcase innovative approaches to problems around the representation of events in digital collections and discussed standardization, collaboration, and communication across the cultural heritage field.

This session brought together experts from the Wildenstein Plattner Institute, National Gallery of Art, Boston University, University of Pittsburgh, Getty Research Institute, and others joined CMOA’s staff for a day of sharing and planning for the future.

Thank you to all the individuals and institutions who participated in making this event a success. See Digital Provenance Symposium 2016 for more information about the first edition in this series.


Listen to video presentations on current projects that use digital methods to track objects over time and space including the intellectual and technological structures supporting event-based art history:


Listen to video discussions among panelists and colleagues:

  • Panel: Data-Rich Museum: Collection Data and Internal Change
    Moderated by Katie Reilly of the Philadelphia Museum of Art, Stuart Alter from Newfields, Sheila Hoffman from the University of Massachusetts, Lowell, and Louise Lippincott from Carnegie Museum of Art.
  • Panel: Museum Collections and the Digital Humanities
    Moderated by Kristen Regina, Philadelphia Museum of Art, with Matthew Lincoln of the Getty Research Institute, Alex Taylor, University of Pittsburgh, and Sheila Carey, Canadian Heritage Information Network (CHIN).
  • Discussion: Object-Based, Event-Driven Art History
    Facilitated by David Newbury, Enterprise Software and Data Architect, J. Paul Getty Trust, the conversation surrounded the future of technology in museums, the necessity for institutional commitment and support, and the desire for enhanced visitor engagement and more effective collection research.


The Art Tracks Digital Provenance Project is made possible in part by a generous grant from the Institute of Museum and Library Services and the National Endowment for the Humanities. Additional research support provided by the Samuel H. Kress Foundation (external link), the Paul Mellon Centre for Studies in British Art (external link), and the Richard C. von Hess Foundation.

Institute of Museum and Library Service
National Endowment for the Humanities