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Expanding the Definition of Provenance: Adapting to Changes Since the Publication of the First AAM Guide Ot Provenance Research

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Expanding the Definition of Provenance: Adapting to Changes Since the Publication of the First AAM Guide Ot Provenance Research The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Master's Projects and Capstones Theses, Dissertations, Capstones and Projects Winter 12-15-2018 Expanding the Definition of Provenance: Adapting to Changes Since the Publication of the first AAM Guide ot Provenance Research Katlin Cunningham [email protected] Follow this and additional works at: https://repository.usfca.edu/capstone Part of the Museum Studies Commons Recommended Citation Cunningham, Katlin, "Expanding the Definition of Provenance: Adapting to Changes Since the Publication of the first AAM Guide ot Provenance Research" (2018). Master's Projects and Capstones. 980. https://repository.usfca.edu/capstone/980 This Project/Capstone is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Projects and Capstones by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. Expanding the Definition of Provenance: Adapting to Changes Since the Publication of the first AAM Guide to Provenance Research Keywords: museum studies, provenance research, found in collections, technology, law, cultural biography by Katlin Cunningham Capstone project submitted in partial fulfillment of the requirements for the Degree of Master of Arts in Museum Studies Department of Art + Architecture University of San Francisco ________________________________________________________________________________ Faculty Advisor: Marjorie Schwarzer _________________________________________________________________________________ Academic Director: Paula Birnbaum December 14, 2018 Acknowledgements I would first like to thank my advisor Marjorie Schwarzer of the Museum Studies program at the University of San Francisco. She was always available whenever I ran into a trouble with my writing, editing and keeping me from the rabbit’s hole of research. I would also like to acknowledge Karren Shorofsky of the Museum Studies program and Law school at the University of San Francisco as the second reader of this capstone. I am gratefully indebted to her for her very valuable comments and continuing to help me push my topic further. I would also like the thank all my professors at the University of San Francisco for all of the valuable information, guidance and always pushing me just a bit further. I would like to extend my gratitude to the Museum of Performance + Design. The time that I have spent as an intern and as a researcher have been invaluable. Finally, I must express my very profound gratitude to my Grandpa Rich and family Beth and Cal for providing me with unfailing support and continuous encouragement throughout my years of study. I would also like to express much gratitude to my boyfriend Luis for the late-night pep talks, editing skills and unwavering support. This accomplishment would not have been possible without them. Thank you. 2 Table of Contents Acknowledgements ................................................................................................................ 2 Abstract ................................................................................................................................. 4 Chapter 1: Introduction .......................................................................................................... 5 Chapter 2: Literature Review .................................................................................................. 6 Chapter 3: Project Proposal ................................................................................................... 20 Chapter 4: Summary .............................................................................................................. 33 Appendix A: Annotated Bibliography ..................................................................................... 34 Appendix B: The Washington Principles ................................................................................. 40 Appendix C: International Countries ...................................................................................... 41 Appendix D: Law Cases .......................................................................................................... 42 Appendix E: Museums with Provenance Project ..................................................................... 45 Appendix F: Timeline ............................................................................................................. 46 Appendix G: Stakeholders ...................................................................................................... 48 Appendix H: Decision Map ..................................................................................................... 49 Appendix I: Images ................................................................................................................ 50 Endnotes ............................................................................................................................... 54 Bibliography .......................................................................................................................... 58 3 Abstract In 2001 the American Alliance of Museums (AAM) published The AAM Guide to Provenance Research. However, in the past seventeen years there have been several new developments in the provenance research field, and an updated guide has yet to be released. I propose that several changes be made to create an updated version. For this project, I tested this guide in two ways: first, to see how our understanding of provenance has changed since 2001 and second, whether the recommended basic research guide and principles still apply to today. In the first section of this capstone, I review several of the significant changes that have influenced provenance research. I begin by examining the standards and ethics related to provenance, as determined by the museum field. I then observed how provenance has changed as it relates to legal changes, both foreign and domestic; and developments of technology and databases and their influence on provenance. The focus of the next section is on basic provenance research guidelines and principles as outlined in the AAM Guide to Provenance Research. I tested how these practices withstand the changes in provenance several years after the guide’s publication, asking if the practices can be applied to works found in collections and if they can work within the shifting definition of provenance, which embraces the concept of a cultural biography of an object. My case study was part of a costume from the ballet Coppélia performed by the San Francisco Ballet found in the collection of the Museum of Performance + Design. 4 Chapter 1: Introduction Every year new cases addressing provenance arise concerning the Nazi-era, antiquities, and more commonly repatriation of objects in museums. It seems as though issues regarding provenance are not being as thoroughly addressed and discussed. This leads me to wonder why provenance is not examined continuously and strived to be improved upon. I have been interested in provenance research for some time and was thrilled to begin this capstone addressing some of the issues. Within the next chapter, I discuss my findings in a literature review. I focus on the second section of The AAM Guide to Provenance Research as it examines resources and research when conducting Nazi-era provenance. I inspect some changes that have occurred since the publication of the guide, mainly on legal, technological, and political developments. The third chapter is where I conduct my provenance research on a costume which was found in collections of the Museum of Performance + Design. I will also try to test whether the research methods outlined in the guide can be applied to a new and shifting definition of provenance. The methods outlined focuses on paintings yet states that these methods can be applied to other media, I test this as well. This shift focuses not just on the lineage and history of ownership of an object, but on examining the object as having a cultural biography. As museum professionals and emerging professionals, we must move forward into a new era where issues of provenance become increasingly important. If museums want to maintain the public trust, the institutions need to address questions such as the following questions: Who owned these objects? Where did they come from? Are there issues of ethics surrounding these objects? These are significant and challenging issues that I address in this paper. Provenance is not just a registrars problem or a curators problem, it is a problem that effects everyone in the museum field. My hope is that this capstone will be a step in continuing the dialog of provenance research within a museum. 5 Chapter 2: Literature Review Who controls the past controls the future. Who controls the present controls the past. -- George Orwell1 In this literature review, I define provenance research and explain how it has evolved. I then discuss standards, codes, and ethics as delineated in several key sources used by professionals. I conclude with various changes since 2001 (the publication year for The AAM Guide to Provenance Research), that focus on on legal and technological changes. This includes a discussion of the legal case U.S. v Portrait of Wally,
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