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Caroline Bruzelius head and shoulders portrait.

Caroline Bruzelius Elected to the American Philosophical Society

May 21, 2020

John Taormina

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. 

(Digital) Art History at CAA 2020

February 12, 2020 — February 15, 2020
Chicago, IL

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

What is Lurking Underneath Notre Dame’s Roof? Visual Heritage and VR Ethics in the Digital Age

4:00 PM – 5:00 PM | Hilton Chicago – Lower Level – Salon C – Yellow Table

Host: Vasile Prejmerean

Hands-On to Eyes-On: From Material Collections to Digital Exhibitions

4:00 PM – 5:30 PM | Hilton Chicago – 3rd Floor – Wilford C

Visual Resources Association (VRA)

Chair: Bridget Madden – University of Chicago


Thursday, February 13, 2020

Advanced Topics in Digital Art History: 3D (Geo)Spatial Networks

8:30 AM – 10:00 AM | Hilton Chicago – 8th Floor – Lake Ontario

Chair: Victoria E. Szabo – Duke University

Discussant: Edward Triplett – 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


Creating Digital Humanities Projects in Art and Art History

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.

From Knowledge to Data in Art History

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.

Lauren Cesiro

Workshop Details:

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/

Lost in Translation: Early Modern Global Art History and the Digital Humanities

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


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


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


Lines of Flight, Lines of Sight: Nadia Kaabi-Linke’s Flying Carpets

Hilton Chicago – Lower Level – Lower Level Lobby

Presenter: Jess Chen – Duke University

Session: Undergraduate Research and Mentoring Undergraduate Research in Art and Art History – Poster Presentations(Part 2)

Mapping Social and Spatial Encounters in Eighteenth-Century Venice

Hilton Chicago – 3rd Floor – Wilford C

Presenter: Noah Scott Michaud – Wired! Lab

Session: Undergraduate Research and Mentoring Undergraduate Research in Art and Art History – Poster Presentations(Part 2)

Political History of Prisons: The Architecture of People in Raleigh’s Central Penitentiary

Hilton Chicago – Lower Level – Lower Level Lobby

Presenter: Paloma J Rodney – Duke’s Wired! Lab

Session: Undergraduate Research and Mentoring Undergraduate Research in Art and Art History – Poster Presentations

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

Session: Undergraduate Research and Mentoring Undergraduate Research in Art and Art History – Poster Presentations

Saturday, February 15, 2020

Digital Art History and the Getty Vocabularies

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.

Art of the Americas Exhibit Opening in Nasher Museum

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.

NEH Awards DH Advancement Grant to Triplett and Stern

Durham, N.C.

Andrea Brucculeri

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.”


Book of Fortresses

Wired! team at the NGA Datathon

Christine Liu

Last month, a team from the Wired! lab represented Duke University at the National Gallery of Art’s Datathon. The Gallery’s full permanent collection data was released to six teams of researchers from institutions. The Datathon coincided with other major efforts by the Gallery to make its collection more widely available to the public. The Gallery is in the process of donating 53,000 images of works of art to Wikimedia Commons. Questions from curators, conservators, and researchers guided analysis of the released data, and teams were encouraged to pursue whichever avenues of inquiry they found most compelling. The study culminated in a two-day Datathon during which teams finalized their visualizations and presented their findings on Friday, October 25, 2019.

The Wired! team consisted of Hannah Jacobs, Paul Jaskot, Christine Liu, Mark Olson, Victoria Szabo, Edward Triplett, and Augustus Wendell. Their presentation titled, “Down the Spatial Rabbit Hole of Ambiguous Data and Art Historical Questions at the National Gallery of Art” looked toward deciphering spatial narratives of the NGA’s Widener Collection, looking at works with saints in the collection, and relationships between the gallery and art history as a whole. The entire presentation is available online, the Wired! team’s presentation begins at the 1:07:00 mark.

Student Spotlight: Kerry Rork’s Summer at the Nixon Library

October 11, 2019

Christine Liu

Kerry Rork is a sophomore majoring in History and Political Science, and minoring in Philosophy. Over the summer she interned at the Richard Nixon Presidential Library & Museum in Yorba Linda, California. Here she shares how her work with the Dictionary of Art Historians helped prepared her for working with archives and the work she did at the library.

Over the summer, I interned at the Richard Nixon Presidential Library and Museum in the National Archives division. My position was primarily to digitize approximately 2,000 pages of recently declassified textual materials from POW/MIA files. These files were then added to the library site, within Drupal content management, for scholars to explore. After reading through these documents, I created a series scope and content note to make the files more accessible, which was then published to the website. I also worked in archival maintenance and assisted archivists to pull boxes for researchers within the stack areas.

When applying for the internship, I included my position with Dictionary of Art Historians. I discussed that I had developed analytical skills in formulating and compiling documents and archival information. I also described how much of my work would be applicable to an archival department aiming to further construct their research database. For the dictionary, I work on building a scholarly source for historians by piecing together the lives of art historians – particularly women of the 19th and 20th centuries – through everything from newspaper clippings to dissertations

Ultimately, it was working with the Wired! Lab and Dictionary of Art Historians that made me stand out in the applicant pool and eventually get the position. Throughout the summer, much of my research drew upon the skills from Dictionary of Art Historians – from examining archival documents to writing my research on POW/MIA files. It was this work at the Wired! Lab that best prepared me for working on archives and research at the Nixon library.

Image Credit: Kerry Rork


Dictionary of Art Historians

News & Events

A New Site for the Dictionary of Art Historians

Wired! Lab Celebrates 10 Years

October 18, 2019
Nasher Museum of Art | Duke University

**UPDATE 10/17/19: Tonight’s Keynote has been cancelled. The symposium will begin as scheduled at 9:00AM on Friday, October 18th.**

Over the past decade, the use of digital methods has exploded in the study of art history and visual culture. As with other areas of the digital humanities, art historians and visual culture scholars have used a very wide range of approaches. Still, increasingly, one of the core areas that art history and visual culture have particular focused on is the analysis of spatial problems through computational methods and digital visualization.

On Friday, October 18th, please join us to reflect on contributions of art historians and visual culture scholars to the spatial digital humanities at Centering Art History & Visual Culture in the Digital Humanities: A Symposium Celebrating 10 Years of the Wired! Lab at Duke.

Find out more: sites.duke.edu/centeringdh | #centeringdh

Register: https://sites.duke.edu/centeringdh/registration/

Watch the livestream:
Friday Morning – http://bit.ly/CenteringDH-FridayMorning
Friday Afternoon – http://bit.ly/CenteringDH-FridayAfternoon


October 17, 2019 — CANCELLED

Keynote: “Digital Architectural and Art History: A View from the Field”

Patricia Morton, University of California, Riverside

October 18, 2019 — BEGINS AT 9:00AM

I. Morning Session: Spatial Problems Across Time 

“No One of Us Is Them: Diverse Proxy Phenomenology in Pompeii”

David Fredrick, University of Arkansas

“Experiencing Temporalities: Space and Pace in Late Ottoman Istanbul”

Burcak Ozludil, New Jersey Institute of Technology, and Augustus Wendell, Duke University

“The Rules of Engagement: Thoughts about prolonged user interaction with virtual environments with a focus on UCLA’s reconstruction model of the World’s Columbian Exposition (Chicago, 1893)”

Lisa Snyder, University of California, Los Angeles

II.Afternoon Session: Digital Methods in the Early Modern Moment

“Mapping Social Context: The DECIMA as a Platform for Spatial Art History”

Colin Rose, Brock University

“The Mind of Michelangelo on Paper”

Mauro Mussolin, Ecole Polytechnique Fédérale de Lausanne, and Leonardo Pili, Graphic Designer

“Visualizing Lost Landscapes: Sources, Stratigraphy, and Close Reading in Mapping Qing Imperial Parks”

Stephen Whiteman, Courtauld Institute of Art

III. Roundtable: Past and Futures of the Spatial Humanities for Art History and Visual 

Wired! Lab Faculty and Staff


Sponsored by the Wired! Lab for Art History & Visual Culture and the Department of Art, Art History & Visual Studies. Free and open to the public.

CFP: CAA 2020 Lost in Translation: Early Modern Global Art History & the Digital Humanities

July 13, 2019

Wired! Lab director Paul Jaskot is co-chair of a session on digital art history at the College Art Association’s 2020 conference. The session is currently accepting proposals.

Deadline to submit: July 23, 2019

Proposal instructions

Session Date & Time: Thursday, February 13, 2020: 4:00 PM-5:30 PM

Session Location: Wilford C (Hilton Chicago)

Affiliated Society or Committee Name: Digital Art History Society

This session seeks to draw on two current art historical issues: 1) that many leading digital art historical projects are centered on examples from the early modern world; and 2) that there is a widespread need across art historical fields to look to strong exemplars to help model the inevitable acts of translation between and across humanistic and computational scholarship. This panel seeks papers that address any aspect of digital humanities work on an early modern topic. From Latin America to East Asia, from the Mediterranean basin to the Black Atlantic, outstanding work has been done in bringing data-driven methods to bear on art historical evidence. How have art historians negotiated the intellectual world of “technologists,” and do we have successful examples of new “languages” and other outcomes collaboratively forged by art historians and technologists? What have computational scholars found interesting or challenging in working with art historical datasets and questions? And, more broadly, why is the early modern world such a fecund area for art historical and computational discovery? In proposing these questions, we particularly encourage submissions from collaborative presenters and/or about collaborative projects that represent both digital and humanities’ perspectives. Our goal is to invite papers engaging crucial questions in early modern art histories—thus appealing to a large area of CAA interest—and papers that, in the process, also address the incorporation of computational methods. Proposals that emphasize the communication (or failure of communication) between digital and humanities’ approaches are especially welcome.

Field of Study:
Early Modern (1450-1800)
Digital Media (history and studio)
Digital Humanities


Paul B. Jaskot, Duke University – paul.jaskot@duke.edu

Meredith J. Gill, University of Maryland – mgill@umd.edu

MA Thesis Showcase Recap

Christine Liu

On April 23, 2019 we had our MA Thesis Showcase to celebrate the work of our Spring 2019 MA in Digital Art History/Computational Media graduates. Here’s a brief recap of the projects that the students presented and a look at some of the digital components they’ve made.


Rob Arcand, “Stack Music: Spotify and the Platformization of the Digital Music Commodity”

Rob’s work looks at music’s changing commodity status, arriving at the moment of “digital music as a canary in the coal mine of informatic or cognitive capitalism.” Stack, software platforming, reveal the material basis of platforms in the technological components on which they rely. He focuses on the machine listening aspect of Spotify, which developed as a way to solve data science problems – based on the premise that sound can function as a computational utility. Rob argues that algorithms shape and are shaped by a cultural life. Data and algorithms are the means by which the music, film, and culture industries are each becoming leaner, reshaped by data-oriented practices in an effort to cut costs and streamline cultural production. Music’s commodification no longer exists at the level of digital files but at a whole industry level where platforms like Spotify are an intermediary between users, artists, and advertisers. For his digital component, Rob created a site that you can see here.


Angelina Liu: “The Alife Bestiary: An AR Object Recognition Project on the Archivolt of Alife”

Angelina’s project worked with the Alife Arch currently in the Brummer’s Collection at the Nasher Museum of Art, the piece was originally an archivolt on the Alife Cathedral. She worked to study one of the most immediately visual elements of the arch – the iconography on the arch’s surface. For her digital project, Angelina worked with AR to annotate a real world object pseudo-directly. As a tool, AR provides a more immediate experience with the objects. The purpose of app is to use AR interactivity to explore the iconography, using object recognition to encourage users to look at the object and displays directly. Other benefits of AR include the ability to show more complex non-linear explanations about the iconography, promote learning on site rather than through a website or pamphlet. As Angelina argues, AR can be more effective in information retention (as applied to paintings) than guided tours.


Kira Xie, “Reimagining Model Minority: An Inquiry into the Post-1965 Chinese Immigration in the United States.”

In her thesis, Kira tackles the Model Minority Theory, from a 1966 article from the US News and World Report. The trope describes Chinese and other Asian Americans based on their education and professional success. Kira’s thesis elaborates on the idea of model minority and on ideas of Chinese immigrants to look at the issues they confront. The projects relies on reports on geographic distribution, census data, Tableau visualization, and oral history. Kira built a website on WordPress, raise history and awareness of issues of Chinese immigration as a means to allow readers to experience the thesis in a non-linear fashion.  She questions the Model Minority Myth as presenting both achievements and challenges.  It has created a problematic image of the minority group as a monolith and obscured problems. Chinese immigrants still face problems with education on a high school basis, glass ceiling in professional settings, and cultural association. Misconceptions of Chinese people not being able to work well in professional settings – image of perpetual stranger still affects their image in America. A cultural emphasis on education for the earlier generations of immigrants was made in hopes of raising a pathway for subsequent generations. Kira hopes that her thesis will be a living history of Chinese immigrants in the US, it will help immigrants learn about their history, and how different perspectives. The accompanying website she created can be seen here.

Image Credits: Hannah Jacobs, Angelina Liu

Jessica Williams ’19: On Robert Willis and Architectural History

Christine Liu

Jessica Williams is a senior majoring in Art History, and minoring in Psychology and Political Science. Her Graduation with Distinction project came out of her work with the Wired! Lab, read more about the project and her future plans below. 

Please describe your thesis project:
My thesis is entitled Robert Willis (1800-1875) and the Historiography of Italian Gothic Architecture. Described as the “father of architectural history,” British academic Robert Willis was extremely influential to the development of methodologies in studying, as well as the nomenclature for, Gothic architecture. In spite of this, he has largely been forgotten by the art historical field, with his early work receiving especially little attention. My thesis focuses on the notes and drawings Willis created for his first publication on architecture, Remarks on the Architecture of the Middle Ages, Especially of Italy, which have to this point been left out of Willis’s narrative. I travelled to London over the summer with a Dean’s Summer Research grant to access Willis’s sketchbooks. I argue that these drawings mark a key moment in Willis’s development as an architectural historian, in which he applies his previously scientific mindset to the study of buildings.

Which Wired! project did it come out of and what are your duties in the project?
My thesis developed from an idea from The Medieval Kingdom of Sicily Image DatabaseI am currently the team leader of the project, and have worked on the Database since my freshman year. I collect and enter images of Sicilian medieval monuments into our database, including many images I collected from Willis’s materials.

Has your thesis work factored at all into what you hope to do after graduation?
Yes! After taking a gap year working in museums, I plan to go to graduate school to pursue a PhD in art history.

Image Credits: Jessica Williams