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
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
An interview with three American historians of art on the the past, present, and future of digital 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.
There will be several Digital Art History/Digital Humanities sessions at the 2017 Renaissance Society of America annual conference (Chicago, March 30-April 1). Program (keyword searchable) at https://convention2.allacademic.com/one/rsa/rsa17/ . Especially noteworthy: Digital Humanities and Art History 1: Geomapping (Thursday 5/30 1:30-3pm) Digital Humanities and Art History 2: Network Visualization (Thursday 5/30 3:30-5pm); Critical Approaches to Digital Art […]
Special issue of Visual Resources http://explore.tandfonline.com/cfp/ah/gvir-cfp-digital-art-history-1q2017 In 2013, Visual Resources published a special issue devoted to Digital Art History. We recognize that since that date considerable activity has taken place in this area, which was then still in a phase of relative infancy. We feel that now is an opportune moment to assess what has […]
This storify features the conversation about digital art history, digital humanities, technology, and beyond hosted by Nathaniel Deines, project manager on the Getty’s digital art history squad.
Matthew is a Data Research Specialist at the Getty Research Institute, where he focus on data-driven research into the history of the art market as part of the Provenance Index Remodel Project. He earned his PhD in Art History at the University of Maryland, College Park in 2016, using computational analysis to explore the long-term changes in the organization of print designers, engravers, and publishers in the Netherlands between 1500–1700. He has previously worked as a curatorial fellow with the National Gallery of Art in Washington, DC, and as a graduate assistant in the Michelle Smith Collaboratory for Visual Culture in the University of Maryland’s Department of Art History and Archaeology. He has been a recipient of Kress and Getty Foundation grants for their summer institutes in digital art history, and served on the steering committee for the Kress and Getty-funded symposium Art History in Digital Dimensions at the University of Maryland in October 2016. He is a member of the College Art Association’s Student and Emerging Professionals Committee. In addition to conference papers at ADHO’s annual meeting, the College Art Association, and the Renaissance Society of America, his work has appeared in the International Journal for Digital Art History, British Art Studies, and Perspective: Actualité en histoire de l’art. He is also a contributor to The Programming Historian.
Lindsay Dupertuis is a Ph.D. candidate specializing in Italian Renaissance art and digital art history. Her research focuses on the intersection of the decorative arts and literary culture during the fifteenth and sixteenth centuries. More broadly, she is concerned with issues of gender, class, ability, and vernacular culture. Her dissertation project, in progress, utilizes a large dataset of istoriato maiolica to consider production practices and artist education in the duchy of Urbino and beyond. During the 2018-19 academic year, Lindsay will serve as a Graduate Curatorial Intern in the Dept. of Sculpture and Decorative Arts at the J. Paul Getty Museum. In the past, she has held internships at the National Gallery of Art and the Walters Art Museum.