The Getty Provenance Index® has added 138,000 database records of art sales from the 1600s and 1700s, including the earliest known catalog published in Britain. This brings the cumulative Databases holdings to more than 1.7 million records taken from source material such as archival inventories, auction catalogs, and dealer stock books. Quantity and scope of available research material varies by region, period, and type of document, and records are continually expanded and enriched on a regular basis. Visit Search the Getty Provenance Index® Databases for more information.
Posts Tagged 'Digital Humanities'
Tags: archives, auctions, Digital Humanities, getty, museums, open content
Tags: Digital Humanities, technology
The Wired! Group at Duke University is hosting and livestreaming a symposium on Monday, Feb. 22, called “Apps, Maps & Models: Digital Pedagogy and Research in Art History, Archaeology & Visual Studies”. The focus is on the use of digital tools in art historical and archaeological research.
The sessions run 9am-1pm and 2-5pm (Note that all times are Eastern, so the morning session actually begins at 6am Pacific Time!). The full schedule and list of speakers with links to the livestream is here.
Tags: Digital Humanities, education, open content, technology, tools
This list of DH tools was created during the HASTAC (Humanities, Arts, Science, and Technology Alliance and Collaboratory; “haystack”) Scholars Unconference at Michigan State University on May 27, 2015. The list in a work-in-progress, with additional tools and insight offered in the comments.
- Media Creation/Annotation (Video/Audio/Image)
- Project Management
- Text Processing/Annotation
- Reference System
- Archive/Content Management Systems
h/t John Taormina
Tags: Digital Humanities, painting, technology, tools
Researchers say they have created a quantitative way to assess “creativity” in works of art that they argue comes close to a scholarly assessment. Ahmed Elgammal and Babak Saleh (The Art and Artificial Intelligence Laboratory, Department of Computer Science, Rutgers University) used 1,710 paintings available on Artchive.com and ran them through their algorithm that looked at qualities such as texture, color, lines, movement, harmony, and balance. The algorithm then “measures the originality and influence of artworks by using sophisticated visual analysis to compare each piece to older and newer artwork…from the premise that the most creative art was that which broke most from the past, and then inspired the greatest visual shifts in the works that followed.”
Tags: Digital Humanities
As a follow-up to yesterday’s post on the report on changing research practices in art history, this article in the Wall Street Journal is timely. The president and CEO of the J. Paul Getty Trust, James Cuno, is making a strong push for advancing the use of tools such as face recognition, digital mapping, and mathematical modelling in art history – all technologies used to great effect in other disciplines.
Tags: archives, contemporary, Digital Humanities, education, museums, open content, publishing, technology
The Tate announced the online availability of Audio Arts, an “audio cassette-magazine” established by artist Bill Furlong in 1972, that contains interviews, soundworks, readings, lectures and other events with and about modern and contemporary artists. The online resource features all the published versions of Audio Arts — which was in publication for 33 years in 24 volumes, each with four issues, and an additional 60+ supplements. With keyword searching or year/contributor/category browsing, the magazine contains entries from contributors such as Marcel Duchamp, Marina Abramović, John Cage, and Joseph Beuys.
h/t Vicky Brown
Tags: copyright, Digital Humanities, open content, publishing, technology
For those who are interested in issues of image Fair Use, the College Art Association has released Copyright, Permissions and Fair Use among Visual Artists and the Academic and Museum Visual Arts Communities: An Issues Report. The extensive report summarizes 100 interviews, related to the use of third-party images in creative and scholarly work, conducted among a wide range of visual arts professionals, including art historians, artists, museum curators, editors and publishers. According to the CAA News post, the report “reveals a situation in which uncertainty about copyright law and the availability of fair use, particularly in the digital era, has made many practitioners risk-averse, too often abandoning or distorting projects due to real or perceived challenges in using copyrighted materials.”