Invited response to “Hubertus Kohle, “Kunstgeschichte und Digital Humanities. Einladung zu einer Debatte/Art History and the Digital Humanities. Invitation to a Debate”
For individuals – at all stages of professional achievement – who are engaged with the theory and practice of Digital Art History (DArtH?) in academic and museum contexts
A group for those working on, and interested in, the history of modernist art in Britain (from about 1870 through to 1970)
In February 2014, eighty participants gathered at Columbia College, in downtown Chicago, in the two days leading up to the annual College Art Association (CAA) conference. This gathering was the second THATCamp to take place in conjunction with CAA’s annual conference (the first occurred at CAA 2013 in New York City). THATCamp, which stands for The Humanities and Technology Camp, is an “unconference” that is managed nationally by the Roy Rosenzweig Center for History and New Media (RRCHNM), George Mason University, in Fairfax, Virginia. Current THATCamp coordinator at the RRCHNM, Amanda French, participated in THATCamp CAA and helped to lead introductions and scheduling over the two-day event. The organizers of THATCamp CAA 2014 were Anne Swartz, Savannah College of Art and Design, and Michelle Millar Fisher, CUNY Graduate Center. The advisory committee consisted of Suzanne Preston Blier, Harvard University; Pamela Fletcher, Bowdoin College; Hussein Keshani, The University of British Columbia, Okanagan; Elizabeth Neely, Art Institute of Chicago; and Christine L. Sundt, Visual Resources. The topics and themes raised by the participants included publishing, teaching, research, archival practices, and knowledge dissemination, which demonstrated the fundamental interrelationship between the concerns of a “digital” audience and those of the “traditional” conference. The title of this paper indicates reflection on the event preparations and proceedings, an open-ended question to our peers, and a provocation based on the outcomes of THATCamp CAA 2014
An interview with three American historians of art on the the past, present, and future of digital art history.
This is a series of brief paradigms that suggest ways of manipulating abstraction, such as Art Language Religion and Politics, for use with a Carlos Ginzburg Evidentiary Paradigm, or other multivariate analysis. The tables in this appendix accompany the Index of Deities and Demons and How the Aleph-Bet Got Its Shape.
This thesis describes the evolution of the alphabet from Upper Paleolithic to present. We draw a direct line from Aurignacian rock art to Hebrew STA”M script and from Auriginal Paganism to Kabbalah using a Ginzburg Evidentiary Paradigm. Provides strategies for quantifying concepts, belief, and abstraction such as Art, Language, Religion, and Politics as data for manipulation and analysis.
Standard general bibliography of the literature of art, supplementing E. Arntzen and R. Rainwater, Guide to the Literature of Art History [v.1]. Chicago: ALA Editions, 1980.
Review of one of the few histories of the discipline of art history
Case study from the Getty’s digital art history team shows how modeling and machine learning are shedding light on the history of the art market.