Jennifer Durran
Abstract
The technology to digitise images of art works and to make those
images available on a computer network is fast becoming a reality.
It has been suggested that the technical requirements associated
with these developments will be far easier to define and resolve
than the institutional barriers that the discipline of art history must
overcome if it is to realise the potential of the digital age.
Consideration is given to elements within the art historical scholarly
communication system that are in a state of transition and the way
that current changes may foreshadow the widespread adoption of
digital images as an information resource. The author concludes
that the changes will be one of evolution rather than revolution.
1. Introduction
‘Computing, scholarship and society [are] weaving an intricate dance, each
responding to and generating a complex web of new and old forces,
institutions, rules and standards, ideas. Reviewing the settings in which
these transformations occur is a requisite first step towards assessing their
impact on scholarship in the arts and humanities’
- John Garrett, New social and economic mechanisms to encourage
access, 1995
The last few decades have seen art history struggling to redefine
itself as an academic discipline. In the past there has been, more-or
less, a set of great (male) artists, fine art ‘masterpieces’ and certain
periods which were considered legitimate fields of study. The
boundaries of art history have been extended – to encompass the
study of women artists, ethnic and black artists, images from
popular culture and advertising as well as non-western cultures - so
that it has become in effect the study of visual culture, ‘the social
and cultural construction of visual experience in everyday life,
media, representation and the visual arts .’(Mitchell, 1995: 540) The
use of methodologies derived from literary criticism which are highly
theoretical and depend on few or no images has grown such that
‘linguistics, semiotics, rhetoric and various modes of ‘textuality’
have become the lingua franca for critical reflection on the arts, the
media and other cultural forms.’ (Mitchell, 1994:11) It is ironic that
this turning away from the use of images has occurred at a time
when interest from scholars in other disciplines such as history, the
performing arts, anthropology and sociology, women’s studies,
psychology, etc is on the rise as part of ‘a complexly related
transformation [in which]...the picture now...emerg[es] as a central
topic of discussion in the human sciences in the way that language
once did.’ (Mitchell, 1994:13)
The study of fine art objects implies a close relationship between art
historians and art museums. The museum has had a strong
influence on the type of scholarship that has traditionally been
pursued, at least in the field of American art, where the museum
rather than the university was the primary sponsor of scholarly
investigation up until the 1960s. (Corn, 1988:193) This relationship
between the art historian and the art museum seems likely to
change if art historians are now interested in all kinds of visual
culture not just the ‘aesthetically superior’ museum object. Art
museums themselves are rethinking their role. The act of collecting,
and the ownership and interpretation of collections has become
increasingly problematic and controversial , particularly ‘the vast
resources expended to [purchase], conserve, exhibit, reproduce,
study and interpret a porous set of privileged objects’ (Corn,
1988:193) when, according to Barbara Stafford (1994: 1) ‘objects
have fallen into disrepute as a major source of knowledge.’
There is little indication that art publishers are about to start using
digital images in book production. This is disappointing to many
librarians and art historians who are hoping that when traditional
print-on-paper art books are produced completely by electronic
means and hence require digital images to be supplied, there will be
a flow-on effect into other areas.
It has been suggested that the image database will solve the
problem of physical organisation however it places great reliance on
alternative methods of retrieval such as subject indexing, to date
little used in image libraries apart fro m some specialist research
collections. Ben Kessler (1993: 56) has rightly pointed out that ‘in an
Conclusion
Technological improvements in the last decade have raised the
expectations of art librarians, art historians and art museum
curators that significant benefits will result from their embracing the
digital conversion of information resources, in particular visual
materials, and pursuing network accessibility to cultural, archival
and research organisations. The technical issues involved in
realising the full potential of a digital networked information
Stam, Deidre C., 1984. ‘How art historians look for information’. Art
documentation.
(Winter): 117-21.
Summary Report of the Spring 1996 meeting of the CNI Task Force,
1996. Announcement on CNI discussion list (cni-announce@cni.org),
Wednesday 8 May, 1996.
In 1997 it won for the author the inaugural Jean Arnot Memorial
Fellowship, an annual award administered by the State Library of
New South Wales for an outstanding original paper on any aspect of
librarianship. The award was presented at the Jean Arnot Memorial
Luncheon and Lecture at Parliament House, Sydney on 7 April 1997.
The paper was subsequently published in LASIE, vol 28, no.2. June
1997 14 – 27.
At the time of writing the author was Visual Arts Librarian at Monash
University, Melbourne,
Email: jdurran@netspace.net.au