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Graduate Fellowship in Digital Art History

January 14, 2019

The Art, Art History & Visual Studies Department at Duke University is pleased to announce the Samuel H. Kress Foundation Graduate Fellowship in Digital Art History. The fellowship for $30,000 will help to offset the cost for an entering student in our Masters (MA) program in Digital Art History and Computational Media. The fellowship is specifically meant for populations of students often underrepresented in digital art history including people of color, first generation college students, and women. Duke is an ideal institution to receive this specialized intellectual training to prepare the student for success in rigorous PhD programs in art history and visual studies. For full details on the program see https://aahvs.duke.edu/graduate/MA-historical-cultural-visualization.

Through this fellowship we intend to help diversify our field and to develop sophisticated, and rigorous computational work. Our MA is specifically targeted to address art historical questions in conjunction with area computational and cultural specialists at Duke.

The Samuel H. Kress Foundation has made extraordinary contributions in the last decade to the support of new digital art history initiatives. This Kress Graduate Fellowship fosters and strengthens the connection between art historical research and the broader field of Digital Humanities. It builds off of the tested curriculum of the MA in Digital Art History & Computational Media while guiding the student to future success in an art history and visual studies PhD.

Our goals are:

1) To increase the opportunities of underrepresented populations for participation in Digital Humanities

2) To improve the chances of MA art historians to enter a high-level art history and visual studies PhD program or succeed in digital areas once they are in such a program, especially to prepare them for university careers

3) To strengthen the diversity of art history as a discipline

4) To expand digital art history as a subfield

Candidates who would like to be considered for this opportunity should apply to the MA in Digital Art History & Computational Media and express their explicit interest in their application for pursuing advanced work in an art history and visual studies PhD program.

For questions, contact paul.jaskot [at] duke.edu.

Printable flyer

Featured in The Iris: Shaping the Discipline of Digital Art History


The Getty’s blog The Iris has posted an article by Advanced Topics in Digital Art History: 3D and (Geo)Spatial Networks institute conveners Paul Jaskot, Hannah Jacobs, Mark Olson, Victoria Szabo, and Ed Triplett. Find out what happened at last summer’s meeting and the program’s plan for the future. Follow the program in real time at #DAHVenice2018.

Image credit: Photogrammetric model of the Earl of Orkney’s estate, one example of 3-D assets the Orkney team are gathering as part of their research.


News & Events

Announcing the Visualizing Venice 2018 Summer Institute

Follow Our Activities at #DAHVenice2018

Alan Carrillo

MA in Digital Art History/Computational Media

Alan Carrillo is an MA student in the Digital Art History program. His emphasis is on Medieval Art and Architecture. Carrillo received his BA in Art History from the University of California, Los Angeles.


Projects

Mapping German Construction


News & Events

MA Student Alan Carrillo on the Wawel, 3D Modeling, and Templar Typology

Visualization and the Holocaust

Analyzing Space and Place with Digital Methods and Geographical, Textual, and Visual Sources

January 17, 2019 — January 18, 2019
Nasher Museum of Art at Duke University

The Holocaust was an historical event that has profoundly shaped our understanding of modern society and has left behind a vast historical record. In the last decade, more and more of that record has become (and is becoming) available digitally.

This public conference seeks to reflect synthetically on the first decade of historical and spatial analysis of the Holocaust through the use of digital methods. What interpretive problems are illuminated by different physical, textual, and visual sources, such as physical killing sites, bureaucratic documents, postwar survivor interview transcripts, photographs, and maps? In addition to presentations on how digital methods have been used in Holocaust Studies (with beneficial and problematic results), the conference will broaden the scope and impact of such a discussion by opening up a dialogue in each session with digital historians and visualization experts from a broader range of fields. Learn more here.

The conference will be followed on Saturday by a workshop of conference participants (closed to the public). This workshop will draw on the contributions and expertise of Margaret Pearce (Cartographer) Erik Steiner (Co-Director, CESTA, Standford University), and Lance Winn (Center for Material Cultural Studies, University of Delaware).

Co-Sponsored by the Department of Art, Art History & Visual Studies (Duke University); The Jack,Joseph and Morton Mandel Center for Advanced Holocaust Studies (U.S. Holocaust Memorial Museum); Nasher Museum of Art (Duke University); Office of the Dean, Trinity College of Arts & Sciences, Humanities Division (Duke University); Duke Research Computing (Duke University); John Hope Franklin Humanities Institute (Duke University); Duke Center for Jewish Studies.

Schedule

Thursday, Januory 17: Keynote, 5:30PM

“An Epistemology of the Virtual: or, what can Concealing Reveal?”
(Lance Winn, Department of Art and Design, and Center for Material Culture Studies, University of Delaware)

Friday, January 18: Conference Panels and Speakers

Welcome and lntroduction [9:00-9:15AM]
(Sarah Schroth, Nasher Museum of Art; Robert M. Ehrenreich, Mandel Center, U.S. Holocaust Memorial Museum; Paul Jaskot, Duke University)

The Ethics of Visual Sources and Visualization [9:15-10:30AM]
(Session Chair: Michael Haley Goldman, U.S. Holocaust Memorial Museum)

  • A Day at the Beach: Littoral Space in the Liepäja Massacre Photographs (Daniel Magilow, University of Tennessee)
  • Cartography and the R.epresentation of Atrocity (Margaret Pearce, Cartographer)
  • Respondent (Paul Jaskot, Duke University)

Criminal Places as (Digitized and Digital) Data [10:45AM-12:00PM]
(Session Chair: Eve Duffy, Duke University)

  • Spaces and Places of the Holocaust: Methodological Reflections (Alberto Giordano, Texas State University)
  • Conflict Urbanism: Colombia – The Memory of a Conflict Through a Single Dataset (Juan Francisco Saldarriaga, Columbia University)
  • Respondent (Anton Kusters, Independent Artist)

Historical Texts as (Digitized and Digital) Spatial Data [1:30-2:45PM]
(Session Chair: Anika Walke, Washington University)

  • I Was Here: Spatial Problems in Holocaust Survivor Interviews (Anne Kelly Knowles, University of Maine, and Tim Cole, Bristol University)
  • Text Mining Archival Records to Map 19th-Century Potato Blight (Laura Tateosian, North Carolina State University)
  • Respondent (Todd Presner, UCLA)

Pedagogical Approaches to Visualizing (Holocaust and non-Holocaust) Digital Datasets [3:00-4:15PM]
(Session Chair: Robert M. Ehrenreich, U.S. Holocaust Memorial Museum)

  • Constructing a Teachable Archive: Curating a Primary Source Experience in the Digital World (Leah Wolfson, U.S. Holocaust Memorial Museum)
  • Contested Histories: Collaborative Approaches to Visualizing Cultural Heritage (Victoria Szabo, Duke University)
  • Respondent (Rachel Deblinger, UC Santa Cruz)

Concluding Roundtable [4:15-5:00]
(Moderators: Robert M. Ehrenreich and Paul Jaskot) – Reception to Follow

Saturday, January 19: Closed Workshop

Contributors: Margaret Pearce (Cartographer) Erik Steiner (Co-Director, CESTA, Standford University), and Lance Winn (Center for Material Cultural Studies, University of Delaware)


Collaborators

Paul Jaskot

Victoria Szabo


Courses

A Cultural Analysis of Ghettos


Projects

Mapping German Construction

Huffman at Venice Digital Humanities Workshop

November 29, 2018 — November 30, 2018
Kristin L. Huffman

Kristin Huffman’s research and collaborative digital project “Jacopo de’ Barbari’s Marvelous View of 1500″ will be showcased at the University of Minnesota’s Venice Digital Humanities Workshop presented by the Consortium for the Study of the Premodern World on November 30th, 2018. Huffman writes, “This digital project brings to life the city of Venice through Jacopo de’ Barbari and Anton Kolb’s iconic View of Venice. Even though scholars consistently refer to the mural-sized woodblock print as a visual document of the city as it appeared in 1500, this project is the first time that the View becomes a centerpiece for engaging with the life of Venice.”

Huffman is also presenting “Picturing the Venetian State: Celebrations of Dogaressa Morosini and Doge Grimani” at the University of Minnesota on November 29, 2018. This lecture “contextualizes the many representations that focus on Morosina, including her lavish Coronation as Dogaressa [of Venice] in 1597, in addition to those of Marino Grimani as her companion.”


Projects

A Portrait of Venice

Video: Ed Triplett on Unreal Spaces and Real Places

October 12, 2018
Ed Triplett

From Ed Triplett’s presentation at the October 12, 2018, Visualization Friday Forum:

Unreal Spaces and Real Places: Visualizing the Virtual World of the Book of Fortresses

 

Abstract:

This lecture will trace the progress of a virtual reconstruction project that has wrestled with a spatially complex primary source. The Livro das Fortalezas, or Book of Fortresses contains 120 perspective drawings and 57 plans of castles and fortified towns on the border between Portugal and Spain in 1509-1510. The book’s creator, a Portuguese squire named Duarte de Armas, was a surveyor and military architect whose methods for visualizing the castles involved an inconsistent combination of precision and cartographic license. His tendency to measure walls precisely, yet improvise the scale, shape and position of towers, hills, rivers and other landscape features, makes the “world” of his book particularly difficult to recreate. Nonetheless, these challenges make it possible to move past hypothetical reconstructions of the fortresses in favor of an analysis of Duarte de Armas’ license to represent what he saw. This lecture will outline a variety of spatial approaches to the problem that have been attempted over the past year, including the use of 3D GIS and landscape-scale “world building” software.


Projects

Book of Fortresses

Kristin Huffman Previews Correr Museum Installation

October 9, 2018
Ballroom of the Correr Museum at Piazza San Marco, Venice
Kristin L. Huffman

Dr. Huffman will present plans for a new installation at the Correr Museum on October 9th. Registration is requested.

Jacopo de’ Barbari’s View made visible the mythical identity of Venice. Published more than 500 years ago, the woodblock print presented an astonishingly detailed portrait of the city from a bird’s eye view.  An artistic and technical marvel, it was immediately recognized for its inventions in composition, scale, and precision. At the time of the View’s production in 1500, Venice was one of the wealthiest and most powerful states in the Early Modern world. A city whose curved urban form seemingly floated on water, it was experienced, lived, and navigated unlike any in the world. Over 300 bridges connected a mosaic of islands, each intersected by canals. Lining them, palatial architecture announced boundless wealth and foreign associations. Scattered throughout the city and surrounding islands, churches declared extreme piety, even if residents enjoyed extensive liberties. The architecture at Piazza San Marco and Rialto, principal sites of governance and commerce, promoted a distinctive civic identity. Visual evidence of Venice’s urban sophistication and splendor was recorded for all to admire in this singular work of art.

The future installation at the Correr Museum will bring the View’s magnificent details to life. The print and the original wooden blocks used to publish the six large-scale sheets, form the centerpiece for interactive multi-media displays. The digital stories, alongside select pieces from the collection, will recount the city’s historic and artistic significance and present a state of the art museum experience, a portal to entering the world of sixteenth-century Venice.


Projects

A Portrait of Venice

Imagining Venice

Digital Pedagogy Series: Practitioners on teaching & research with digital technologies

September 26, 2018 — October 19, 2018

The Wired! Lab is pleased to be a cosponsor with the Franklin Humanities Institute for the Representing Migration Humanities Lab’s fall event series on digital pedagogy. Wired! Director Paul Jaskot and Digital Humanities Specialist Hannah Jacobs will be panelists at the October 19th Digital Research in Progress session. Registration is open to Wired! students and affiliates while seats are available. RSVP to kel32[at]duke.edu.

Introduction to Digital Pedagogy Options at Duke

Wednesday, September 26, 2018 | 12:00-1:30PM | 314 Allen Bldg

This presentation will help you lay the groundwork for using digital tools in the humanities classroom. Brian Norberg (Trinity Technology Services) and Amanda Starling Gould (Franklin Humanities Institute) will introduce digital pedagogy tools, digital humanities assignments, and digital resources for instructors and graduate researchers at Duke.

Digital Pedagogy Roundtable

Friday, September 28, 2018 | 11:00AM-12:30PM | 218 Perkins Library

Moderated by Brian Norberg (Trinity Technology Services) and Liz Milewicz (Digital Scholarship Services), this session will feature presentations from and discussions with graduate students, recent graduates, and faculty who are teaching in a range of disciplines with a variety of digital technologies: from eco-critical digital humanities to visual studies and data science to literature and art history to classical studies. Methods discuss include digital archive and exhibition building with Omeka and Neatline and interactive visual storytelling with TimelineJS, among other topics. Presenters are Amanda Starling Gould (Franklin Humanities Institute), Astrid Giugni and Jessica Hines (English), Nathan Bullock (Art, Art History & Visual Studies), and Adrian Linden-High (Classical Studies).

Digital Research in Progress

Friday, October 19, 2018 | 11:30AM-1:00P | Wired! Lab, A233 Bay 11 Smith Warehouse

This session focuses on challenges and lessons learned about creating and sustaining digital projects. Liz Milewicz (Digital Scholarship Services) and Hannah Jacobs (Wired! Lab) will discuss project planning and collaboration. Paul Jaskot (Art, Art History & Visual Studies & Wired! Lab) will present his research in process, presenting on digital methods he has been engaging. Seth Kotch (Digital Humanities, UNC) will present on his experience working with NEH-funded collaborative history projects.

Image Credits: Posters by Karen Little; Cover Image by Hans van Reenen.

Digital Humanities Workshop at the National Humanities Center

October 2, 2018
National Humanities Center, 7 T.W. Alexander Drive, Research Triangle Park, NC
9:00AM-3:30PM

The National Humanities Center is hosting a one-day workshop titled “Digital Humanities Nuts and Bolts: From Idea to Sustainable Project” on Tuesday, October 2, 2018. The workshop “will focus on planning, logistics, and long-term maintenance of digital humanities (DH) projects.” Registration is free and open.

Wired! Lab Director Paul Jaskot will present during the session “5-Minute Talks on DH Projects in Teaching and Research” and Digital Humanities Specialist Hannah Jacobs will presenting during “Panel III: Project Management and DH”. They will be joined by area scholars and experts from North Carolina Central University, North Carolina State University, and the University of North Carolina at Chapel Hill. Additional scholars and experts joins from Texas A&M University, University of Georgia, and the University of Illinois at Urbana-Champaign.

Image Credit: National Humanities Center

Visualization Friday Forum: Spatial Analysis of the Holocaust

September 7, 2018
Duke University West Campus, D106 LSRC
12:00-1:00PM

Wired! Director Paul Jaskot will be presenting at the first Visualization Friday Forum of the fall 2018 semester. The presentation will be livestreamed and recorded. Find out more about the series.

This lecture explores how historical GIS, corpus linguistics, and digital visualization are central to explaining the role of construction in the Holocaust. The Holocaust occurred at all scales—from the continental to the level of the individual—and understanding those shifting scales of genocide requires the mixed methods that digital and analog approaches enable. Focusing on the two case studies of the SS concentration camp system and the ghettos in occupied Europe, I will argue for an integrated analysis of the Holocaust that sees the dynamic spatial relationship between perpetrators and victims above all in the buildings and forced-labor construction industry of which they were a part.