“Toward a More Inclusive Digital Art History,” a joint project funded through a generous grant by the Terra Foundation for American Art and administered by Panorama, has made it possible to guide a pioneering generation of art historians through workshops, one-on-one meetings, and technical guidance. Here we offer updates from project participants Theresa Avila, Carolin Görgen, Mary Okin and Celie Mitchard, and Helena Shaskevich and Lia Robinson.
This data-driven analysis unearths monuments that have received little attention, reveals an evolving narrative of the public commemoration of women, and demonstrates how the methods of the digital humanities can enhance the study of art.
This resource also offers a model for sharing the background research that is often too detailed, wide-ranging, and extraneous to be published in a conventional format, as well as too inaccessible in museum archives or scholars’ homes for general use.
Can an institution not only virtually reconnect the objects with their communities, but also create reciprocal relationships that will benefit the objects and the communities (both Indigenous and museum audiences alike)
How might technology restore the connections between the tangible and the intangible that text-based art-historical practices and their often singular focus on the visual have damaged or elided?
In the spring of 2015, I taught a survey of American art to 1945 at the Pennsylvania Academy of the Fine Arts (PAFA). My plan was to offer a course that challenged the established canon of white, male artists of privilege, and I assigned the insightful American Encounters as the main textbook for the course.
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