This Saturday, February 27, 2021, Wired! Lab Director Paul Jaskot will deliver the keynote lecture for Toward a More Inclusive Digital Art History, an initiative of Panorama, journal of the Association of Historians of American Art. Jaskot’s lecture, titled “Thinking about Visibility and Invisibility in the Art Historical Canon: The Tensions between Evidence and Data in Digital Art History,” will focus on the tensions between evidence and data in Digital Art History and argue that these tensions mark the fundamental humanistic importance of this computational work. Learn more & sign up to attend.
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December 11, 2020
10:00 US Central | 11:00 US Eastern | 17:00 Italy
On Friday, 11 December, 2020, il Centro per la Storia dell’Arte e dell’Architettura delle Città Portuali (CSAACP) will host a digital seminar featuring The Medieval Kingdom of Sicily Image Database’s project members Caroline Bruzelius and Paola Vitolo. Contact lacapraia[at]gmail[dot]com if you wish to participate.
Why Make an Image Database? Digital Tools and New Perspectives in Art History
Wars, natural disasters, urban expansion, and changes in taste have transformed the medieval monuments of South Italy, their interior decoration, and their relationship to the landscape. The Medieval Kingdom of Sicily Image Database was created to enhance our knowledge and understanding of the appearance and meaning of buildings and their decoration over time, prior to transformation or destruction. The database collects and makes accessible historic images in order to enable scholars and the public to engage with the multiple lives of a building or a city, and to generate deeper knowledge about the historic patrimony of South Italy. The images in the database are culled from libraries, archives, museums, and publications and are made available on the Web and as an App with large and small-scale maps.
October 30, 2020
Wired! Lab core member Edward Triplett & collaborator Philip Stern have launched their new project Sandcastle with support from an NEH Digital Humanities Advancement Grant as well as Bass Connections. Sandcastle aims to
enable researchers to visualize non-cartesian, premodern images of places in a comparative environment that resembles the gestural, malleable one used by medieval and early modern cartographers and artists.
The project team are using visual annotation and procedural modeling to create a workflow with existing tools that can be applied not only to their own case studies but also to future research. A major aspect of the project will be documenting and publishing the workflow for other scholars’ use. Learn more.
News & Events
October 16, 2020
Two Wired! Lab alumni are presenting their research virtually in the coming month. Timothy Shea (PhD in Art History, Duke) is a long tim collaborator on the Digital Athens project. Emily Leon (MA in Digital Art History, Duke) conducted her research under the supervision of Paul Jaskot.
Timothy Shea, Duke University and UNC at Chapel Hill
“Fictive Funerary Landscapes? Mourning Scenes on Athenian Funerary Vessels in Context”
October 20, 2020, 6:30 PM EDT
Register to attend here: https://go.unc.edu/Md4p8
Zoom link will be emailed to registrants 24 hours in advance of the lecture.
A group of Athenian funerary vases known as white-ground lekythoi serves as the most evocative visual evidence of ancient Greek funerary culture. These vases with their vibrant polychrome decoration often depict scenes of women mourning beside the grave marked with an elaborate tombstone. However, the production of these vessels (460-420 BCE) coincides with a period of time in Athens from which very few stone funerary monuments survive in the archaeological record. This discrepancy between the ubiquity of monuments on the vases and their stone counterparts’ scarcity archaeologically has led scholars to debate the nature of these mourning scenes on lekythoi and the role of tombstones within them. Were the scenes meant to evoke nostalgia for the elite funerary culture of the previous generation? Or were they aspirational, depicting the types of commemoration that were no longer socially acceptable or legally permissible? In this talk, Tim Shea engages with this long-running debate by utilizing digital mapping software to analyze the find locations of the few funerary monuments that survive from this period in relation to the excavated remains of pottery workshops where these vessels were likely produced. He also tracks the distribution of vessels across burial deposits in Athens and the wider Mediterranean to consider the effect of market forces on the production of these vessels. We encourage anyone interested in implementing GIS (Geographic Information Systems) and digital mapping techniques into their research or teaching to attend.
Tim Shea received his Ph.D. in Art History from Duke University in 2018. He has taught at Florida State University and Dartmouth College, where he was the lead instructor on their Foreign Study Program in Greece. This spring he will be taking up a position as Assistant Professor of Classics at the University of North Carolina at Chapel Hill, where he will be teaching Greek archaeology and ancient sculpture. His current book project, Death and Diplomacy: Citizens and Immigrants in Archaic and Classical Athenian Cemeteries, investigates the ways in which immigrant communities expressed their identity through the funerary landscape of ancient Athens. He is also currently working on a collaborative research project publishing the portrait sculpture from the Athenian Agora.
UNC Art Department: http://art.unc.edu
Contact: Christoph Brachmann, cbrachma[at]email[dot]unc[dot]edu
Emily Leon, Independent Scholar
“Between the Physical & Psychical: Esoteric Representations of Nature in the Work of Hilma af Klint”
November 19, 2020, 7:00 PM EST
Scholars often focus on Swedish artist Hilma af Klint’s abstract images within the standard narrative of European modernism which can overlook their deep relationship to her interest in the scientific and esoteric. This talk addresses af Klint’s specific research into plants as a project in the scientific exploration of esotericism rather than as a “mere” continuation of other avant garde trends. In order to articulate the ways in which she draws on natural elements to represent the domain of unrepresentable form, this paper explores the multivalent elements present in her Tree of Knowledge series and sketches from her Flowers, Mosses and Lichens notebook. She no doubt believed in the entrancing power of nature, precisely because her notion of nature included a holistic understanding of the existence of matter in both biological and cosmological form. Her analytical method allows the image to act as a didactic model of expression that engages with nature and the world in new ways. Thus, af Klint’s non-representational approach to documenting her engagement with and unified experience of the natural world suggests the need for a deeper understanding of how spirituality and science interacted with one another during the first two decades of the twentieth century. Probing her relationship to science, spirituality, and visual art will help us think more critically about the broader aesthetic and social implications of her work.
September 1, 2020
Working with Mark Olson and the Art of the Americas team, the Nasher Museum of Art has launched its first virtual tour of its Cultures of the Sea: Art of the Ancient Americas exhibition. Visitors can travel through the gallery, zoom in on ancient ceramics, textiles and carvings–and listen to the audio tour by student co-curators from Duke’s Class of 2020.
This summer, the Medieval Kingdom of Sicily Image Database team has been as busy as ever. In addition to continuing to add content, research assistants Emma Keaton, Brenden Li, and Julia Nasco have led the launch of a new Instagram account where they’re sharing the latest additions to the database and a little bit about their work on the project. Follow along:
May 21, 2020
Caroline A. Bruzelius, Anne Murnick Cogan Professor Emerita of Art and Art History and inaugural director of the Wired! Lab for Digital Art History and Visual Culture, has been elected a Member of the prestigious American Philosophical Society. Thirty-four Members were elected this year, including others in the humanities such as Elizabeth Alexander, President, The Andrew W. Mellon Foundation; Marin Alsop, Music Director, Baltimore Symphony Orchestra: Lonnie Bunch III, Secretary, Smithsonian Institution; Carla Hayden, Librarian, Library of Congress; David W. Oxtoby, President, American Academy of Arts and Sciences; and André Watts, Pianist and Distinguished Professor of Music, Indiana University.
The American Philosophical Society, the oldest learned society in the United States, was founded in 1743 by Benjamin Franklin for the purpose of “promoting useful knowledge.” The Society sustains its mission in four principal ways. It honors and engages distinguished scientists, humanists, social scientists, and leaders in civic and cultural affairs through elected membership and opportunities for interdisciplinary, intellectual fellowship, particularly in the semi-annual Meetings in Philadelphia. It supports research and discovery through grants and fellowships, lectures, publications, prizes, exhibitions, and public education. It serves scholars through a research library of some 13 million manuscripts and other collections internationally recognized for their enduring scholarly value.
The American Philosophical Society’s current activities reflect the founder’s spirit of inquiry, provide a forum for the free exchange of ideas, and convey the conviction of its members that intellectual inquiry and critical thought are inherently in the public interest.
Early Members included George Washington, John Adams, Thomas Jefferson, James Madison, Alexander Hamilton, and John Marshall. In the nineteenth century, John James Audubon, Robert Fulton, Charles Darwin, Thomas Edison, and Louis Pasteur were among those elected. Albert Einstein, Robert Frost, and George Marshall hint at the scientific, humanistic, and public accomplishments of 20th-century Members. The first woman was elected in 1789 – the Russian Princess Dashkova, president of the Imperial Academy of Sciences of St. Petersburg.
Today the Society has 1,051 elected Members, 852 resident Members and 169 international Members from more than two dozen foreign countries. Only 5,715 Members have been elected since 1743. Since 1900, more than 260 Members have received the Nobel Prize.
February 12, 2020 — February 15, 2020
Here are a few of the Duke- and digital art history-related presentations happening this week at the College Art Association’s annual conference:
Wednesday, February 12, 2020
4:00 PM – 5:00 PM | Hilton Chicago – Lower Level – Salon C – Yellow Table
Host: Vasile Prejmerean
4:00 PM – 5:30 PM | Hilton Chicago – 3rd Floor – Wilford C
Visual Resources Association (VRA)
Chair: Bridget Madden – University of Chicago
- Materials in Context: Experiential Learning in Art History–A Collection Curator’s Perspective Allan Tyler Kohl, Minneapolis College of Art and Design
- Materials in Context: Experiential Learning in Art History–A Faculty Perspective Jessica M. Dandona, Minneapolis College of Art and Design
- Materiality Made Visible Melanie E Emerson, School of the Art Institute of Chicago
- Exhibition in Practice: A Perspective from the Classroom Leslie Wilson, University of Chicago
- Exhibition in Practice: Execution in the Museum Berit Ness, Smart Museum of Art, University of Chicago
Thursday, February 13, 2020
8:30 AM – 10:00 AM | Hilton Chicago – 8th Floor – Lake Ontario
Chair: Victoria E. Szabo – Duke University
Discussant: Edward Triplett – Duke University
- ‘Firenze Scomparsa’: the challenge of digitally reconstructing and disseminating Florence lost buildings Chiara Capulli and Cristina Mosconi, University of Exeter
- Towards a web-based representation of spatial change over time at San Julián de Samos Estefanía López-Salas, Universidade da Coruña
- Living Beings and Movement in Historical Space:Opportunities in Agent-based Modeling Burcak Ozludil Ph.D, Albert Dorman Honors College and Augustus Wendell, New Jersey Institute of Technology
- Visualizing Cities: Augmented Reality as a Critical and Creative Medium for Digital Cultural Heritage Victoria E. Szabo, Duke University
Beyond the Algorithm: Art Historians, Librarians, and Archivists in Collaboration on Digital Humanities Initiatives
10:30 AM – 12:00 PM | Hilton Chicago – 8th Floor – Lake Ontario
Art Libraries Society of North America
Chairs: Maggie Joe Mustard – The New Museum of Contemporary Art
Amye McCarther – New Museum
- Activating the Digital Archive: A New Platform for the ICAA Documents of Latin American and Latino Art Liz Donato, ICAA/MFAH and Arden Decker, The International Center for the Arts
- Preservation and Engagement of the Archive: Frick Art Reference Library Digital Art History Initiatives Louisa Wood Ruby, The Frick Collection and Art Reference Library and Sumitra Duncan, Frick Art Reference Library
- Mapping Senufo: Rethinking the Art-Historical Monograph in the Era of Digital Publication Susan Elizabeth Gagliardi, Emory University and Constantine J. Petridis, Art Institute of Chicago
- Capturing Scholarship and Datasets in Contemporary Art: the Joan Jonas Knowledge Base Barbara Clausen, UQAM, Deena Engel, New York University and Glenn Wharton, The Getty Leadership Institute
11:00 AM – 12:00 PM | Hilton Chicago – Lower Level – Salon C-8
Workshop Leader: Anthony F. Mangieri – Salve Regina University, Newport, RI
Anthony F. Mangieri is Associate Professor of Art History and Coordinator of the Women’s Studies program at Salve Regina University in Newport, RI. He holds a Ph.D. in Art History from Emory University. Mangieri is the author of Virgin Sacrifice in Classical Art: Women, Agency, and the Trojan War (Routledge).
Workshop Details: This workshop offers participants a “road map” of how to create their own digital humanities projects. Topics to be covered include conceptualizing, implementing, and maintaining digital projects, and the tools to create them. Group activities provide opportunities for brainstorming and idea building that will help participants conceptualize their own projects.
2:00 PM – 3:00 PM | Hilton Chicago – Lower Level – Salon C-7
Workshop Leaders: Nancy A. Um – Binghamton University
Nancy Um is Professor of Art History at Binghamton University.
Stephen Whiteman – The Courtauld Institute of Art
Stephen Whiteman is Senior Lecturer at the Courtauld Institute of Art.
In this workshop, we will discuss the process of understanding art historical research materials as data, working with the software Tableau. It is aimed at art history faculty and graduate students who do not possess experience working with humanities datasets, but wish to visualize or map aspects of their research.
This workshop is a hands-on session. All participants should bring their laptops, fully charged. Please download software and documents before arriving at the session. Information about software downloads, equipment, and other workshop preparation can be found here: http://nancyum.com/caa-2020-workshop-from-knowledge-to-data-in-art-history/
4:00 PM – 5:30 PM | Hilton Chicago – 3rd Floor – Wilford C
Digital Art History Society
Chairs: Meredith J. Gill – University of Maryland
Paul B. Jaskot – Duke University
- What Lies Beneath: New Tools for direct exploration of Peter Paul Rubens’s “The Fall of Phaeton” E Melanie Gifford, National Gallery of Art and Jennifer Henel, Digital Art History Society
- Priorities, Concepts and Directions: Weaving Some Digital Accounts of Early Modern Textiles Jorge Sebastián Lozano, Universitat de València
- Outside the Perspectival Paradigm: (Re)-Constructing Pictorial Space in Early Modern China and Contemporary Digital Environments Stephen Whiteman, The Courtauld Institute of Art
Friday, February 14, 2020
Undergraduate Research and Mentoring Undergraduate Research in Art and Art History – Poster Presentations
10:30 AM – 12:00 PM | Hilton Chicago – Lower Level – Lower Level Lobby
Chair: Alexa K. Sand – Utah State University
- A Self-Defined Sex Being: Self Portraiture as Black Feminist Fantasy for the Purpose of Black Feminist Liberation Ashleigh Cheryl Elizabeth Smith, Duke University
- Political History of Prisons: The Architecture of People in Raleigh’s Central Penitentiary Paloma J Rodney, Duke’s Wired! Lab
Undergraduate Research and Mentoring Undergraduate Research in Art and Art History – Poster Presentations(Part 2)
2:00 PM – 3:30 PM | Hilton Chicago – Lower Level – Lower Level Lobby
Chair: Alexa K. Sand – Utah State University
- Mapping Social and Spatial Encounters in Eighteenth-Century Venice Noah Scott Michaud, Wired! Lab
Hilton Chicago – Lower Level – Lower Level Lobby
Presenter: Jess Chen – Duke University
Hilton Chicago – 3rd Floor – Wilford C
Presenter: Noah Scott Michaud – Wired! Lab
Hilton Chicago – Lower Level – Lower Level Lobby
Presenter: Paloma J Rodney – Duke’s Wired! Lab
A Self-Defined Sex Being: Self Portraiture as Black Feminist Fantasy for the Purpose of Black Feminist Liberation
Hilton Chicago – Lower Level – Lower Level Lobby
Presenter: Ashleigh Cheryl Elizabeth Smith – Duke University
Saturday, February 15, 2020
9:30 AM – 10:30 AM | Hilton Chicago – Lower Level – Salon C-8
Digital Art History Society
Workshop Leaders: Anne L. Helmreich – Getty Research Institute
Anne Helmreich is Associate Director for Digital Initiatives in the Getty Research Institute and is engaged with the intersection of art history and the digital humanities.
Patricia A. Harpring – Getty Research Institute
Patricia Harpring is Managing Editor for the Getty Vocabularies, expert in standards and documenting art and architecture for research and discovery.
Workshop Details: Today, art historians have unprecedented access to digitized resources and approaches. Working in this arena requires structured and standardized data, making the Getty Vocabularies essential resources. In this workshop, learn more about the Getty Vocabularies, how they can advance scholarship, and how to use the new OpenRefine Vocabulary Reconciliation Service.
Additional digital art history events are listed on the International Journal of Digital Art History blog.
February 1, 2020 — May 31, 2020
Nasher Museum of Art
The Nasher Museum of Art will be showcasing Cultures of the Sea: Art of the Ancient Americas from February 1 to May 31, 2020 in the Incubator Gallery.
For ancient cultures on the Central and South American coasts, the ocean was both a source of livelihood and a way of life: It provided food, precious materials and divine inspiration in regions with often-severe environmental conditions. Cultures of the Sea: Art of the Ancient Americas brings together diverse artworks from 100 BCE to 1550 CE that illustrate how the ocean shaped the cultural legacies of these civilizations. This exhibition features ceramics, textiles and carvings, many on view for the first time, from the Nasher Museum’s permanent collection. More information can be found about this collection on the Nasher Museum’s website.
Additionally, there will be a Gallery Talk about the collection on February 6 from 6-7:30 p.m. at the Nasher Museum. This will be followed by a reception.
Cultures of the Sea will also be available for spotlight tours on February 16 from 2-3 p.m. Spotlight Tours come free with admission and allow visitors to enjoy art at a slower pace. During these tours, a gallery guide will lead a 30-45 minute discussion on just one piece of art.
Regular guided tours are offered twice weekly, Thursdays at 6 PM (free) and Sundays at 2 PM (free with admission). Tours last approximately one hour.
Co-directors Edward Triplett and Philip Stern received a $99,339 grant from the National Endowment for the Humanities (NEH) last Tuesday. The grant will be used to advance their project, “The Sandcastle Workflow: A Malleable System for Visualizing Pre-Modern Maps and Views.”
The NEH announced $30.9 million to support 188 humanities projects and an additional $48 million for community programs at state councils. Triplett’s project was one of 14 projects to receive a digital humanities advancement grant.
Triplett says the decision to apply for the NEH Office of Digital Humanities (ODH) grant originally grew out of his and Stern’s mutual interests in premodern maps and views, and in experimenting with new ways of analyzing them. The Sandcastle Workflow emerged through Triplett’s Wired Lab project which has been mapping and modeling fortresses and landscapes that appear in a 16th-century Portuguese volume of drawings known as the “Livro das Fortalezas” (or Book of Fortresses). The purpose of the NEH funding is to refine the methods begun in the Book of Fortresses project and make them available to other scholars studying similar images that cannot be georeferenced on top of a modern map.
Triplett and Stern agree that most mapping tools are strict and logical, and don’t account for the ambiguity and messiness of humanities’ resources. Triplett says this is why he and Stern decided to use the Book of Fortresses project to “streamline the process of deconstructing and reassembling these place-based images in a more malleable environment – one where the ‘control’ in our experiment was not a modern basemap.” This is where the title “Sandcastle Workflow” name came from — the unbridled malleability of sand, as well as Triplett’s research on medieval and early modern castles
“I have been working on archaeological reconstruction, HGIS, and other 3D geospatial projects for a long time, and I have wanted to head a project like this since I was in graduate school, so this is a very exciting time for me,” Triplett said. “I know Phil shares that excitement as well.”
Stern is Gilhuly Family professor in the History Department. He is currently working on projects related to the British Empire.
Triplett is a Lecturing Fellow in the Department of Art, Art History & Visual Studies. In 2015 he joined the Wired! Lab for Digital Art History as a CLIR Postdoctoral Fellow and has been teaching courses in GIS mapping for historical subjects the design of Medieval castles, monasteries and cathedrals.
“I have had a team of 4-5 students, some of whom graduated last year, working on Fridays at the lab over the last two and a half years, and we have really done a lot with the time and money at our disposal,” Triplett said. Current student researchers working with Triplett include Daniel Castro, Cyan DeVeaux, Hillman Han, and Audrey Magnuson.
While the Sandcastle Workflow will focus more strictly on the arguments and spatial practices embedded in premodern maps and views, the Book of Fortresses project will continue to also gather dense 3D of the fortresses in its original source. With the help of Tim Senior, independent scholar and long-time Wired! Lab affiliate, and former student Stone Mathers, Triplett has spent parts of the summer in 2018 and 2019 traveling in Portugal and gathering this data through a process called photogrammetry.
“Thanks to financial assistance from the Digital Humanities Initiative at Duke headed by my colleague Victoria Szabo, we purchased a small drone with a mounted camera that we flew over the castles last June and July and ended up with some fantastic 3D data that has helped us compare the drawings in the Book of Fortresses to the architectural remains of the sites,” Triplett said. This data will be added into the Unity3D game engine as a way of pushing the Sandcastle Workflow forward, and a “point-cloud” version of the data can be seen on the project website at www.bookoffortresses.org.
“The Sandcastle Workflow is the methodology we are pushing forward with help from the NEH, but there is an even larger related effort to put these methods into practice right away,” Triplett said. “We also recently received funding from Bass Connections that has allowed us to create a project-based course around this subject next year, and we are currently recruiting for a summer Data+ team to help build a dataset from additional maps and views that will feed into the Bass Connections project.”