Erin Dickey

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Developing a Repertoire of Roles: Students’ Interventions in Artists’ Archives

From the Thomas Wolfe Series by Connie Bostic

This post on the Learning From Artists’ Archives website is adapted from a talk I gave at this year’s College Art Association conference, as part of the “Supporting Creative Legacies in Local Communities: Lessons Learned from the Artists Studio Archives Project” panel session with project Co-PI’s JJ Bauer and Carol Magee and Advisory Board Member […]

New Artists’ Studio Archives Post, or, “How I Spent My Summer Vacation”

“‘It’s something I wouldn’t give you, or I would double check,’ artist Paul Ramirez Jonas said to Archives of American Art (AAA) Curator Josh T. Franco, referring to an item found in a box of studio materials recently donated to the Archives. Beat. ‘Um, it’s already here, Paul,” Franco replied, as the crowd in AAA’s […]

DAH Project: 3D Models

During our 3D model photo session at the Ackland, I had a little bit of trouble with Autodesk 123D Catch–I ended up with a model of the walls, but not the central figure! Instead of uploading that failed model via Sketchfab, this is one I did several months ago, of a sculpture on display at the […]

DAH Post #11: Crowdsourcing and the sources of power

Ink and graphite on paper, Seattle Art Museum

Now that Web 2.0 has become fully integrated into the way we seek, discover, process, and share information, it’s no secret or surprise that the GLAM world continues to refine engagement activities and outreach tools to bring in new and hopefully larger audiences. The increasing deployment of digital platforms to build visitor/user interaction with exhibitions, […]

DAH Post #10: Network Visualization and the Reduction of Data

Scott B. Weingart’s blog post on the basics of network visualization, “Demystifying Networks”, is a concise overview of the pitfalls digital humanists (and data scientists) can fall into when deciding to use networks to visualize their data. In addition to giving some background information on organization theory and the makeup of networks, Weingart places special emphasis on bias […]

Digital Assignment #3: Notable Moments in Art-and-Technology

For my third digital assignment, I decided to build on my timeline of notable moments in the history of art-and-technology from last week, this time using TimeMapper to chart locations of exhibitions, events, organizations, and programs. As Edward Shanken and others have noted, the popularity of collaborations between art and technologists climbed in the 1950s and […]

Testing TimelineJS

Ink and graphite on paper, Seattle Art Museum

In class this week, we looked at two New York Times Interactives: Riding the New Silk Road and Forging an Art Market in China, as well as the Metropolitan Museum’s Heilbrunn Timeline of Art History and the BCG course site Media and Materiality. All represent examples of ways to map both space and time. “Riding the New Silk Road” presents […]

DAH Post #8: Using Google Fusion Tables and ImageQuilt

Using data I described in last week’s blog post, I created a Google Fusion network visualization showing the connections between various subfields of machine intelligence research. I think looking at this visualization probably does far more for me (with the background research I’ve done on specific projects, scholars, and important dates connected with these research […]

DAH Post 7: Art History and Machine Learning

The Physics arXiv Blog post, “When a Machine Learning Algorithm Studied Fine Art Paintings, It Saw Things Art Historians Had Never Noticed,” summarizes the 2014 findings of Rutgers University researchers Babak Saleh, Kanako Abe, Ravneet Singh Arora, Ahmed Elgammal in their research on using machine learning to classify art. Comparing a set of 1700 images by 66 […]

Digital Project #2: Google Maps

Ink and graphite on paper, Seattle Art Museum

For my digital project using Google Maps, I’ve chosen to chart [a very small sample size representing] the spread of Italian Futurism inside and outside of Italy by mapping first the initial publication/writing dates and locations of some of the more notable manifestos associated with Italian futurism, and then, in my second layer, mapping the re-publication […]