Dr. Matthew Lincoln is the Digital Humanities Developer at dSHARP, the digital scholarship center at Carnegie Mellon University, where he focuses on computational and data-driven approaches to the study of history and culture. His current book project with Getty Publications, co-authored with Dr. Sandra van Ginhoven, uses data-driven modeling, network analysis, and textual analysis to mine the Getty Provenance Index Databases for insights into the history of collecting and the art market. He earned his PhD in Art History at the University of Maryland, College Park, and has held positions at the Getty Research Institute and the National Gallery of Art. He is an editorial board member of The Programming Historian. 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.
Francesca Albrezzi has worked with museums for over a decade, including the Smithsonian’s National Museum of American History (Washington, D.C.), the Institut national d’histoire de l’art (Paris, France), the Los Angeles County Museum of Art, and the Getty Research Institute (Los Angeles, California). She is currently pursuing her Doctoral degree in the Department of World Arts and Cultures/Dance at the University of California – Los Angeles (UCLA), as well as a Digital Humanities Graduate Certificate through UCLA’s Center for Digital Humanities. Her dissertation interrogates modes of publishing, display, and information capture in museums and archives that illustrate a break from “traditional” models, and argues that digital modalities provide a distinctly different paradigm for epistemologies of art and culture that offer greater contextualized understandings. Specifically, she is interested in spectrums of immersive experience within GLAM organizations as offered by technologies such as virtual reality, augmented reality, and 360 photo and video capture. Albrezzi also has significant experience developing digital tools, such as The Getty Scholars’ Workspace™ for conducting collaborative arts research and preservation. She is a HASTAC Scholar, has taught within the field of Digital Humanities for four years at UCLA, and helped to produce an online digital art history textbook.
Lindsay Dupertuis has recently completed her Ph.D. in Art History at the University of Maryland. She specializes in early modern Italian art, particularly domestic and decorative arts, and in digital art history. Her current research focuses on the intersection of the decorative arts and literary culture during the fifteenth and sixteenth centuries. Her dissertation project, “Istoriato Maiolica and the Virtues of Reading in Renaissance Urbino and Beyond,” utilizes a large dataset of istoriato maiolica to consider intertextuality, reception, and interpretation among artists and elite consumers alike. More broadly, she is concerned with issues of gender, class, (dis)ability, and vernacular culture in early modern Europe. Lindsay has been awarded an Ann G. Wylie Dissertation Completion Fellowship from the University of Maryland for Fall 2020. During the 2018-19 academic year, she was 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.
French Avant-garde, Intellectual History, Digital Liberal Arts, Food Studies
theater history; copyright and the performing arts; digital humanities
…Professor of Art History and Director of Wired! Lab for Digital Art History & Visual Culture…
…Digital Humanities Specialist, Wired! Lab For Digital Art History & Visual Culture…
digital scholarship, spatial media, hybrid reality systems, database-driven narrative forms, media history, computational arts
Eighteenth-Century literature and art history | William Blake | Romanticism | Digital Humanities | Word/Image Interrelationality | Theory
…and Digitised Archival Collections, edited by Lise Jaillant and Victoria Stobo. Studies in Archives. London: Routledge (forthcoming 2020)
Co-edited with Kimon Keramidas. “Re-viewing Digital Technologies and Art History.” Theme issue of The Journal of Interactive Technology and Pedagogy 12 (https://jitp.commons.gc.cuny.edu/category/issues/issue-twelve/)
“Digital Art History for the Masses? The Role of the Public Digital Art History Lab.” Život umjetnosti 105 (https://zivotumjetnosti.ipu.hr/onama/)
Co-author. “Teaching in the Digital Humanities―An RSA Roundtable.” Kunsttexte.de: E-Journal für Kunst-und Bildgeschichte (http://www.kunsttexte.de/index.php?id=55)
Co-author and main editor. “Art History …