Digital art history: the American scene

Drucker, Johanna; Helmreich, Anne; Lincoln, Matthew; Rose, Francesca

doi:10.4000/perspective.6021

Cited by 6 publications

(4 citation statements)

References 4 publications

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“…Undoubtedly, not all the expressed views on the matter are as harsh. Nevertheless, regardless of how current computer vision applications are appreciated, it is generally acknowledged that they replicate traditional art-historical tasks (Drucker et al 2015) that are now regarded as a primary stage of study and documentation (Schelbert 2017).…”

Section: The Perspective Of Art Historiansmentioning

confidence: 99%

“…They are convinced that such systems would never be developed, especially if only the images of artworks are considered (Vaughan 2005;Drucker 2013;Klinke 2016). Besides, the perception among art historians is that computer vision research is not yet as advanced as text analysis (Vaughan 2005;Drucker et al 2015) and find it unlikely that it will ever be possible to "discover the historicity of the work of art in its pixels" (Rosenberg 2016).…”

Section: The Perspective Of Art Historiansmentioning

confidence: 99%

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Computer Vision Applications for Art History: Reflections and paradigms for future research

Foka

2021

Electronic Workshops in Computing

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Section: The Perspective Of Art Historiansmentioning

confidence: 99%

Section: The Perspective Of Art Historiansmentioning

confidence: 99%

Computer Vision Applications for Art History: Reflections and paradigms for future research

Foka

2021

Electronic Workshops in Computing

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“…13 Searching across collections, comparing images or texts among them, and mining the data within them, inspires creative exploration and discovery of connections and trends in art history. 14 …”

Section: Bibliothèquesmentioning

confidence: 99%

In Situ and in Cyberspace: the Art Library and Art-Historical Research in the Twenty-First Century

Salomon¹

2016

perspective

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“…Digital mapping, present in everyday life in the form of navigation devices, is increasingly finding its way into art history research (Fletcher 2015;Drucker et al 2015;Gagliardi and Gardner-Huggett 2017). Within the context of Art Market Studies, it is to date mainly English and French-speaking academics that have been using this method.…”

Section: Introduction: On the Potential And The Use Of Digital Mappinmentioning

confidence: 99%

Art Markets and Digital Histories

2020

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She specializes in the relationship between cities, culture and economics, and has published and taught on art markets and cultural industries from the early modern period to the present. Her current research projects focus on the development of historical cultural datasets and digital infrastructures, as well as their application in other societal domains. Sandra van Ginhoven is head of the Project for the Study of Collecting and Provenance at the Getty Research Institute. Her research on the history of the art markets and the art trade between the Southern Netherlands and Spanish America during the seventeenth century was published in 2016. Her current projects apply data analysis and modeling techniques to various topics in the history of collecting and the art markets. vii Preface to "Art Markets and Digital Histories" This Special Issue of Arts investigates the use of digital methods in the study of art markets and their histories. As historical and contemporary data is rapidly becoming more available, and digital technologies are becoming integral to research in the humanities and social sciences, we sought to bring together contributions that reflect on the different strategies that art market scholars employ to navigate and negotiate digital techniques and resources. The essays in this issue cover a wide range of topics and research questions. Taken together, the essays offer a reflection on what takes to research art markets, which includes addressing difficult topics, such as the nature of the research questions and data available to us, and the conceptual aspects of art markets, in order to define and operationalize variables and to interpret visual and statistical patterns for scholarship. In our view, this discussion is enriched when also taking into account how to use shared or interoperable ontologies and vocabularies to define concepts and relationships that facilitate the use and exchange of linked (open) data for cultural heritage and historical research.

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Digital art history: the American scene

Cited by 6 publications

References 4 publications

Computer Vision Applications for Art History: Reflections and paradigms for future research

Computer Vision Applications for Art History: Reflections and paradigms for future research

In Situ and in Cyberspace: the Art Library and Art-Historical Research in the Twenty-First Century

Art Markets and Digital Histories

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