Fine Arts
"Who Owns This Image?" Public Presentation and Debate: NYC Tues April 29, 6:30pm
Posted April 14th, 2008 by David Green, Knowledge Culture
0 Comments | 533 Page Views
Who Owns This Image?
Art, Access, and the Public Domain after Bridgeman v. Corel
Public Panel Discussion Cosponsored by: Art Law Committee, New York City Bar Association, College Art Association, ARTstor Creative Commons
Panelists: Dr. Theodore Feder, President, Art Resource, Artists Rights Society Christopher Lyon, Executive Editor, Prestel Publishing William Patry, Senior Copyright Counsel, Google Hon. Richard A. Posner, United States Court of Appeals, 7th Circuit Maureen Whalen, Associate General Counsel, J. Paul Getty Trust Moderator: Virginia Rutledge, Chair, Art Law Committee, New York City Bar
The Future of Art History: Roundtable
Posted December 16th, 2007 by Jennifer Curran, Academic Commons
3 Comments | 1619 Page Views
Three art historians discuss how their most urgent needs might be addressed by cyberinfrastructure. While they hold themselves responsible for fostering new forms of scholarship as they appear, the bottom line, they agree, is that CI will be useless if it can not revolutionize image access and metadata management, and cannot help us think differently about vision and objects: "what kind of image work is the work that matters most?"
College Museums in a Networked Era--Two Propositions
Posted December 16th, 2007 by John Weber, Skidmore College
0 Comments | 967 Page Views
The director of Skidmore College's Tang Museum proposes a dynamic new relevance for the college museum, whose tasks of addressing students' visual literacy and in more effectively deploying the multisensory exhibition in global curricula could be dramatically facilitated through cyberinfrastructure.
Sistine Chapel in Second Life
Posted June 29th, 2007 by Steve Taylor, Vassar College
0 Comments | 3699 Page Views
Vassar College has recreated the Sistine Chapel in Second Life.
The Sistine Chapel was built in the 15th century and is decorated with frescoes by Michelangelo and other great painters of the Italian Renaissance.
In this Second Life recreation, the interior is depicted in great detail, while the exterior is an approximation. Unlike in the real-life chapel, here you can fly up to the top of a wall for a close inspection, look down at the inlaid floor, or even sit on a window ledge!
The lower tier of the chapel normally displays panels with painted draperies. On special occasions, these panels are covered with tapestries designed by Raphael. Here, you can click to show or hide the tapestries whenever you want.
The Sistine Chapel was built in the 15th century and is decorated with frescoes by Michelangelo and other great painters of the Italian Renaissance.
In this Second Life recreation, the interior is depicted in great detail, while the exterior is an approximation. Unlike in the real-life chapel, here you can fly up to the top of a wall for a close inspection, look down at the inlaid floor, or even sit on a window ledge!
The lower tier of the chapel normally displays panels with painted draperies. On special occasions, these panels are covered with tapestries designed by Raphael. Here, you can click to show or hide the tapestries whenever you want.
CFP: CHArt (Computers and the History of Art) Conference: Digital Archive Fever, November 2007
Posted May 16th, 2007 by Jennifer Curran, Academic Commons
0 Comments | 1423 Page Views
We pass along this call for papers which has appeared on a number of listservs...
CHArt (Computers and the History of Art)
23rd Annual Conference
DIGITAL ARCHIVE FEVER
Thursday 8 - Friday 9 November 2007
London England - Venue to be confirmed
Museums, galleries, archives, libraries and media organisations such as publishers and film and broadcast companies, have traditionally mediated and controlled access to cultural resources and knowledge. What is the future of such "top-down" institutions in the age of "bottom-up" access to knowledge and cultural artifacts through what is generally known as Web 2.0 (encompassing YouTube, Bittorrent, Napster, Wikipedia, Google, MySpace and more)? Will such institutions respond to this threat to their cultural hegemony by resistance or adaptation? How can a museum or a gallery or, for that matter, a broadcasting company, appeal to an audience which has unprecedented access to cultural resources? How can institutions predicated on a cultural economy of scarcity compete in an emerging state of cultural abundance?
Metropolitan Museum and ARTstor Announce Pioneering Initiative to Provide Digital Images to Scholars at No Charge
Posted March 17th, 2007 by Jenny Lee, Pratt Institute
1 Comments | 1311 Page Views
A March 13, 2007 ARTstor press release brings news of an important development in the open access movement:
Excerpt:
"In a new initiative designed to assist scholars with teaching, study, and the publication of academic works, The Metropolitan Museum of Art will distribute, free of charge, high-resolution digital images from an expanding array of works in its renowned collection for use in academic publications. This new service, which is effective immediately, is available through ARTstor, a non-profit organization that makes art images available for educational use..."
Digital Image Interview Series: Hank Glassman
Posted February 8th, 2007 by David Green, Knowledge Culture
0 Comments | 2218 Page Views
Digital Image Interview Series
Hank Glassman, Assistant Professor, East Asian Studies, Haverford College
Hank Glassman teaches Buddhism, Religion and Gender, East Asian Religions, Japanese Literature, Language, and History. Images have become increasingly important in his teaching on Japanese language, history, and culture and in his research on Japanese religions in the medieval period. He constantly struggles with how best to display images in his classes and how to help students engage them as texts.
Academic Commons: Tell me a little about your ambitions for using digital images and what the transition has been like.
Glassman: First, I've been at Haverford for six years and I have to say that for three of those years it was very much a struggle to bring digital images into the classroom. I was very dissatisfied with the options-software, hardware, and support; it was very difficult to get material scanned at the resolutions I requested and there was a real absence of a support system or of specialists able to manage digital images. But then everything changed and now I cannot complain. First we had MDID and now we're moving to ARTstor and we have a terrific level of support. I'm very pleased by the direction everything is going.
Hank Glassman, Assistant Professor, East Asian Studies, Haverford College
Hank Glassman teaches Buddhism, Religion and Gender, East Asian Religions, Japanese Literature, Language, and History. Images have become increasingly important in his teaching on Japanese language, history, and culture and in his research on Japanese religions in the medieval period. He constantly struggles with how best to display images in his classes and how to help students engage them as texts.
Academic Commons: Tell me a little about your ambitions for using digital images and what the transition has been like.
Glassman: First, I've been at Haverford for six years and I have to say that for three of those years it was very much a struggle to bring digital images into the classroom. I was very dissatisfied with the options-software, hardware, and support; it was very difficult to get material scanned at the resolutions I requested and there was a real absence of a support system or of specialists able to manage digital images. But then everything changed and now I cannot complain. First we had MDID and now we're moving to ARTstor and we have a terrific level of support. I'm very pleased by the direction everything is going.
Ukiyo-E Techniques Learning Object
Posted January 8th, 2007 by Jennifer Curran, Academic Commons
0 Comments | 1864 Page Views
This site is intended to help students, collectors and researchers to better understand the Ukiyo-e technique. Photographs and video clips show demonstrations of the techniques by master printmaker Keiji Shinohara. These demonstrations are accompanied by traditional prints from the Davison Art Center collection at Wesleyan University, and contemporary prints by Keiji Shinohara.With its impressive depth of information, captivating visuals and easy navigation, the Ukiyo-E Techniques website highlights the level of collaboration that is required to produce these sorts of materials.
Digital Image Interview Series: Robert Nelson
Posted November 30th, 2006 by David Green, Knowledge Culture
0 Comments | 3439 Page Views
Digital Image Interview Series November, 2006
Robert Nelson, Robert Lehman Professor, History of Art, Yale University
Robert Nelson studies and teaches medieval art at Yale University. He came to Yale in 2005, after a long and distinguished career at the University of Chicago. It was there that he started teaching with digital images, and he has not looked back. He is co-curator of the exhibition Holy Image, Hallowed Ground: Icons from Sinai, on display at the Getty Museum through March 4, 2007.
Academic Commons: Let's start by asking about your own engagement with digital images.
Nelson: I'm very interested in this because I've written about the history of the slide lecture and so I'm actually quite interested in this transition.[1] The coming of slides transformed art history and I believe this will make not the same transition, the same revolution, but it's definitely going to make a big change.
Art history is frozen in a certain technological state. There was once a time when art history and film were basically the same medium but art history is frozen in late-19th-century technology that has survived into the early 21st century. Whereas film went on to many other things - there were talking pictures, there were DVDs and many more manifestations, and now art history will move into that larger realm.
So how is it changing what you're doing in the classroom ?
Well it's changing many things. But first I'd like to say why I've made the switch. I told people when I first arrived here [2005] I'm not going to show a slide at Yale University. Come hell or high water, no matter what happens, I'm not going to show a slide at Yale University! So, I've completely made the switch. And the reason is that students learn much better. That is the most important reason.
Robert Nelson, Robert Lehman Professor, History of Art, Yale University
Robert Nelson studies and teaches medieval art at Yale University. He came to Yale in 2005, after a long and distinguished career at the University of Chicago. It was there that he started teaching with digital images, and he has not looked back. He is co-curator of the exhibition Holy Image, Hallowed Ground: Icons from Sinai, on display at the Getty Museum through March 4, 2007.
Academic Commons: Let's start by asking about your own engagement with digital images.
Nelson: I'm very interested in this because I've written about the history of the slide lecture and so I'm actually quite interested in this transition.[1] The coming of slides transformed art history and I believe this will make not the same transition, the same revolution, but it's definitely going to make a big change.
Art history is frozen in a certain technological state. There was once a time when art history and film were basically the same medium but art history is frozen in late-19th-century technology that has survived into the early 21st century. Whereas film went on to many other things - there were talking pictures, there were DVDs and many more manifestations, and now art history will move into that larger realm.
So how is it changing what you're doing in the classroom ?
Well it's changing many things. But first I'd like to say why I've made the switch. I told people when I first arrived here [2005] I'm not going to show a slide at Yale University. Come hell or high water, no matter what happens, I'm not going to show a slide at Yale University! So, I've completely made the switch. And the reason is that students learn much better. That is the most important reason.
Art History and Its Publications in the Electronic Age
Posted September 27th, 2006 by David Green, Knowledge Culture
0 Comments | 1079 Page Views
An interesting study by two art historians (Hilary Ballon at Columbia
and Mariet Westermann at NYU) examining the obstacles to successful
electronic publication of art history has now been made available as a
course on Rice University's CONNEXIONS website: http://cnx.org/content/col10376/latest/.
The study, "Art History and Its Publications in the Electronic Age,†was nicely discussed by Jennifer Howard in her article in the Chronicle of Higher Educationthis summer: "Picture Imperfect,†(August 4, 2006) http://chronicle.com/free/v52/i48/48a01201.htm.
The study, "Art History and Its Publications in the Electronic Age,†was nicely discussed by Jennifer Howard in her article in the Chronicle of Higher Educationthis summer: "Picture Imperfect,†(August 4, 2006) http://chronicle.com/free/v52/i48/48a01201.htm.
