Google Art Project was introduced last year and showcased artworks from 17 museums in nine countries and included approximately 1,000 images. Today, the Art Project includes more than 30,000 high-resolution artworks from 151 museums, with Street View images for 46 museums.
Expanding upon the original collection of mostly western paintings, Google Art Project now includes a wider representation of art (sculptures, photographs, street art) and has greater cultural diversity. Newly added museums include the Museum of Islamic Art in Qatar and the National Gallery of Modern Art in Delhi.
The updated My Gallery feature lets you select any of the artworks to build your own personalized gallery. You can add comments to each work and share your collections with others.
The National Gallery of Art has implemented an open access policy for digital images of works of art that the Gallery believes to be in the public domain. More than 20,000 high resolution digital images are now available free of charge for download and use through the NGA Images website.
For classroom presentation use, click the Quick Download icon below the thumbnail in the Search Results view. Your image will download directly to your computer. In order to download higher resolution images, you must register for a free account.
There was an update to the ARTstor Digital Library this week. New changes include:
Full support for Chrome browsers.
Folders are now nested in two upper level folders: “Private Folders” and “Institutional Folders.” “Private Folders” contains folders viewable only by you. “Institutional Folders” contains folders that are viewable by other users at your institution either as “Public” folders or as “Password-protected” folders.
Because of this update, some of you may find that you cannot see your folders or image groups; clearing the browser cache should resolve the issue. Detailed instructions on how to do this can be found here
Did you know you can search for information on Google using an image instead of keywords? This is particularly useful if you want to find a higher quality image of one you already have or you simply want to view results related to the picture or its contents. If you are the creator of an image, you can use this feature to see how and where your image is being used online.
To search by image, go to images.google.com and click on the camera icon in the search box. You can either paste in an image’s URL or upload an image from your computer; Chrome and Firefox users can drag a loose image from the desktop into the search box.
Join us tonight at the opening of Designed to Dance: Dance Ink Magazine 1989-1996, an exhibition curated by VRC staff member Debra Klein.
Founded by Patsy Tarr in 1989, Dance Ink Magazine was an avant-garde, quarterly journal dedicated to contemporary dance. Pairing kinetic type with dynamic photography, art director Abbot Miller accomplished the difficult task of making dance come alive in a two-dimensional medium. Dance Ink became the stage everybody wanted to be on: Duane Michals, Barbara Kruger, Adam Gopnik, Geoffrey Beene, Mark Tansey, Robert Rauschenberg and many more contributed to make Dance Ink one of the best performance and culture magazines of the 90′s.
The exhibition draws from the collections of Debra Klein and Stevenson Library.
A version of the OIV for Mac OS X 10.7 Lion is now available for download through the ARTstor Digital Library. To download this file, log into the ARTstor Digital Library using your ARTstor registered user account. In the ARTstor navigation bar at the top of the screen, click Tools > Download offline presentation tool (OIV). Select the radio button next to “OIV 3.1.2 for Mac (Java 6.x; Mac OSX 10.7),” and the download will commence.
The New York Art Resources Consortium has announced the completion of the digitization project “Documenting the Gilded Age: New York City Exhibitions at the Turn of the 20th Century”. A collaboration between the Brooklyn Museum Libraries and Archives and the Frick Art Reference Library, the project showcases their collections of the late 19th and early 20th century exhibition catalogs, pamphlets, and checklists from New York City art galleries, clubs and associations. The full-text digital facsimiles from 172 catalogs are available through Arcade, the NYARC consortium catalog, and individual items can be downloaded as PDFs.
Staff members from both institutions have also created an accompanying online exhibition, which can be viewed at http://gildedage.omeka.net. The exhibition features images from the Brummer Gallery, Century Association, Colony Club, Cottier Gallery, Grand Central Art Galleries, Lotos Club, Montross Gallery, National Association of Portrait Painters, New York Water Color Club, Salmagundi Club, and Union League Club.
The Israel Museum in Jerusalem has partnered with Google to digitize the Dead Sea Scrolls. High-resolution images of the scrolls are now available through the Israel Museum website, where browsers can “unroll” the scrolls with a slider and zoom in so closely that every fragile crease is clearly visible. In the case of the Great Isaiah Scroll, the largest and best preserved of all the biblical scrolls, users can click on individual verses and read its translation in English.
A chart describing Hagia Sophia's orientation and "sightings of sun," drawn by Van Nice in 1958. From the Robert L. Van Nice Collection.
The Robert L. Van Nice Collection is a new blog created by the staff at the Image Collections and Fieldwork Archives of the Dumbarton Oaks Research Library in Washington, D.C. The blog chronicles the processing of the Robert L. Van Nice collection and offers a fascinating glimpse into the daily work of museum archivists.
The Van Nice collection includes items such as notebooks, research papers, blue prints, drawings and photographs which document the large-scale architectural survey of Hagia Sophia conducted by Van Nice from 1937-1985.
The blog is interesting because it is as much about the process of going through these materials as it is about the materials themselves. Instead of waiting for the 70+ boxes of research materials to be identified, processed and finally put into some sort of exhibition, we get to “open the boxes” so to speak, right alongside the archivists.