Art: Authenticity, Restoration, Forgery
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1. Introduction
This PDF is a simplified version of the original article published in Internet Archaeology. All links also go to the online version. Please cite this as: Nicholson, C., Fernandez, R. and Irwin, J. 2021 Digital Archaeological Data in the Wild West: the challenge of practising responsible digital data archiving and access in the United States, Internet Archaeology 58. https://doi.org/10.11141/ia.58.22 Digital Archaeological Data in the Wild West: the challenge of practising responsible digital data archiving and access in the United States Christopher Nicholson, Rachel Fernandez and Jessica Irwin Summary Archaeology in the United States is conducted by a number of different sorts of entities under a variety of legal mandates that lack uniform standards for data archiving. The difficulty of accessing data from projects in which one was not directly involved indicates an apparent reluctance to archive raw data and supplemental information with digital repositories to be reused in the future. There is hope that additional legislation, guidelines from professional organisations, and educational efforts will change these practices. 1. Introduction Though we are well into the 21st century, responsible digital archiving of archaeological data in the United States is not common practice. Digital archiving of cultural resource management reports in State Historic Preservation Offices, where they are often available by request though perhaps at a cost, is common; however, digitally archiving the datasets and other supporting materials that went into the creation of those documents is not. Though a vocal minority advocates for responsible digital archiving practices (Kansa and Kansa 2013; 2018; Kansa et al. -
Methods in Digital Archaeology and Cultural Heritage Katy Meyers Emery
Methods in Digital Archaeology and Cultural Heritage Katy Meyers Emery Increasingly over the last decade, anthropologists have looked to digital tools as a way to improve their interpretations, engage with the public and other professionals, collaborate with other disciplines, develop new technology to improve the discipline and more. Due to the increasing importance of digital, it is important that current students become equipped with the skills and confidence necessary to creatively and thoughtfully apply digital tools to cultural heritage questions. With that in mind, this course is not a lecture- it is an open discussion and development course where students will learn digital tools by using and making them. This course will provide students with an introduction to digital tools in archaeology, from using social media to engage with communities to developing their own online projects to preserve, protect, share and engage with cultural heritage and archaeology. Course Goals: 1. Understand and articulate the benefits and challenges of digital methods within archaeology and cultural heritage management 2. Critically use digital methods to engage with the public and archaeological community online to promote cultural and archaeological heritage and preservation (ex. Blogging, Twitter, Digital Mapping, etc) 3. Leverage digital tools to create a digital project focused on archaeology or cultural heritage Texts: All reading material for this course will be provided online, although students may need to request or find their own reading material related to a historic site for their final project. **This syllabus was designed based on a course that I helped develop and teach over summer 2014, a Mobile Cultural Heritage Informatics class I assisted in during summer 2011, and my years as a Cultural Heritage Informatics Initiative fellow. -
DIGITAL ARCHAEOLOGY of HERITAGE BUILDINGS of WEST AFRICA Ghana – 28 May – 1 July
NEW Summer 2017 Field School in DIGITAL ARCHAEOLOGY OF HERITAGE BUILDINGS OF WEST AFRICA Ghana – 28 May – 1 July Focusing on the Elmina Castle (1482, Ghana) the school introduces the principles of structural diagnostics of heritage masonry buildings with the aim to produce a systematic survey (manual, photogrammetric, laser scanning, aerial drone photography) and related digital reconstructions of select areas of the Castle. The school also fosters the understanding of the historical environment, and in particular the pivotal role in the Transatlantic World, of Elmina Castle through study visits to other forts and castles in coastal Ghana. In addition, the school offers a broader view of Ghana’s natural and cultural heritage through guided visits to selected archaeological sites and national parks. There are no pre-requisites. The field school is designed to attract undergraduate and graduate students in the humanities, social sciences, and engineering interested in acquiring skills in a multidisciplinary environment. Faculty: Prof. Renato Perucchio, Co-director – Mechanical Engineering and Director, Archaeology Technology and Historical Structures, University of Rochester – [email protected] ; Prof. Kodzo Gavua, Co-director – Archaeology and Heritage Studies and Dean, School of Arts, College of Humanities, University of Ghana - [email protected] ; Prof. Michael Jarvis, History and Director, Digital Media Studies, University of Rochester - [email protected] ; and Prof. William Gblerkpor, Archaeology and Heritage -
Monumental Computations. Digital Archaeology of Large Urban And
Visualising the Past through the Virtual Image Virtual Reconstitutions as interpretations of knowledge Tiago CRUZ, University of Porto, Portugal Abstract: The image has the power to mean something, to tell, to express, to represent, and to present. Based on a reflection upon the place of the virtual image in the visuali- sation of the past, the present article seeks to answer to the transformations that result from the digital revolution, with implications in our relationship with History and in our experience of the built heritage. With the aim of returning the old Convent of Monchique to the city of Porto (Portugal) and its community, the interpretation of knowledge is ex- plored here by using the virtual image as an instrument for the visualisation of the past, in its visibilities and invisibilities, through interpretative exercises of the past, guided by historical accuracy, authenticity, and scientific transparency. Due to the profound formal and functional changes it has undergone over time—even prior to its foundation, in the 16th century, and up to the present—, the convent presents itself as an ideal example to test the use of scientific methodologies and their validity in an interpretative visualisation of the past. Keywords: Virtual image—digital reconstruction—data authenticity—uncertain data— reconstructions CHNT Reference: Tiago Cruz. 2021. Visualising the Past through the Virtual Image. Börner, Wolf- gang; Kral-Börner, Christina, and Rohland, Hendrik (eds.), Monumental Computations: Digital Ar- chaeology of Large Urban and Underground Infrastructures. Proceedings of the 24th International Conference on Cultural Heritage and New Technologies, held in Vienna, Austria, November 2019. Heidelberg: Propylaeum. -
Forensics and Microscopy in Authenticating Works of Art Peter Paul Biro
Forensics and Microscopy in Authenticating Works of Art Peter Paul Biro 4 ISSUE 1 MARCH 2006 Fingerprints have been used around the world for identifying individuals since 1908. The availability of such evidence on works of art has been overlooked until the authentication of a Turner canvas in 1985. Since that case, a new methodology has been developed and the new discipline of forensic authentication was born. More recently, the concept of fingerprinting encompasses not only the marks left behind by our fingers but also the materials and working methods, widening the available ways to identify an artist. This innovative forensic approach has helped resolve equivocation and identify numerous important works of art as well as opening up a new field of research in art. bout 20 years ago, a client hang it as a demonstration. We gave walked into our Montreal in and a deal was struck. Some Aconservation laboratory with months later, a small area of the a large canvas he wanted cleaned and painting was tested to see how it restored. On first glance the painting behaved. After removing a small area seemed heavily overpainted and of overpainting on the sky we were recently so. The client shook his awestruck at the beauty of the head at the estimate for cleaning it, original surface coming to light. and said that it was not worth the Excitement grew and considerable cost as it was a wreck anyway. He effort was put into removing the asked whether our company would heavy coat of paint hiding the original buy the painting - to which he was surface. -
Curatorial Care of Easel Paintings
Appendix L: Curatorial Care of Easel Paintings Page A. Overview................................................................................................................................... L:1 What information will I find in this appendix?.............................................................................. L:1 Why is it important to practice preventive conservation with paintings?...................................... L:1 How do I learn about preventive conservation? .......................................................................... L:1 Where can I find the latest information on care of these types of materials? .............................. L:1 B. The Nature of Canvas and Panel Paintings............................................................................ L:2 What are the structural layers of a painting? .............................................................................. L:2 What are the differences between canvas and panel paintings?................................................. L:3 What are the parts of a painting's image layer?.......................................................................... L:4 C. Factors that Contribute to a Painting's Deterioration............................................................ L:5 What agents of deterioration affect paintings?............................................................................ L:5 How do paint films change over time?........................................................................................ L:5 Which agents -
Fictive Strategies
CONTENT 1 CONTENT 2 - 3 HOLLY ROBERTS - ABOUT 4 HOLLY ROBERTS - ARTIST STATEMENT 5 SUZANNE SBARGE - ABOUT 6 SUZANNE SBARGE - ARTIST STATEMENT 7 EXHIBITION STATEMENT 8 - 9 EDUCATIONAL ACTIVITY 10 - 12 BEHIND THE SCENES 13 - 17 WORKS IN SHOW 18 THANK YOU PAGE 1 ABOUT THE ARTIST HOLLY ROBERTS Holly Roberts’ first national exposure c a m e i n 1 9 8 9 with the publication of the monograph, "Holly Roberts", from the Untitled Series published by the Friends of Photography. Although her work has always been based on the photograph, it was the inclusion of paint that made it so distinct. As David Featherstone says in his introduction, “Roberts is a painter, yet it is the photograph underlying the paint, even when it can scarcely be seen, that gives the work its intriguing, mysterious power. Drawing from the iconography of primitive art, particularly that of the Native American, Mexican and Hispanic cultures of the Southwest, where she lives, she creates paintings that address a broad range of human emotions. While it is Roberts’ evolving interaction with the photograph that takes her to her finished work, it is the existence of the underlying photographic image— even when it is obscured by paint— that gives the work its powerful qualities and sets up the emotional challenge for the viewer.” PAGE 2 ABOUT THE ARTIST HOLLY ROBERTS Her work has continued to evolve, but she has reversed her original process of heavily overpainting the black and white silver print. She now works on top of a painted surface, developing a narrative scene with collaged photographic elements. -
Chapter 8: Conservation Treatment
Chapter 8: Conservation Treatment Page A. Overview ...................................................................................................................................................... 8:1 What is preservation and how is it accomplished? ......................................................................... 8:2 What is conservation treatment? .................................................................................................... 8:2 What is stabilization? ...................................................................................................................... 8:3 What is restoration? ........................................................................................................................ 8:3 Why use reproductions? ................................................................................................................. 8:4 Why should treatments be reversible? ............................................................................................ 8:4 What NPS guidance is available to help me make decisions about conservation treatment? ....... 8:4 When do I need a conservator? ...................................................................................................... 8:4 B. Factors to Consider Before Conservation Treatment ................................................................ 8:5 How will I know what conservation treatment is appropriate? ........................................................ 8:5 What guidelines should I follow when considering -
Huggett, J. (2015) a Manifesto for an Introspective Digital Archaeology
Huggett, J. (2015) A manifesto for an introspective digital archaeology. Open Archaeology, 1(1). pp. 86-95. Copyright © 2015 The Authors. This work is made available under the Creative Commons Attribution- NonCommercial-NoDerivs 3.0 Unported (CC BY-NC-ND 3.0) Version: Published http://eprints.gla.ac.uk/104047/ Deposited on: 17 Mar 2015 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Open Archaeology 2015; 1: 86–95 Original Study Open Access Jeremy Huggett A Manifesto for an Introspective Digital Archaeology Abstract: This paper presents a grand challenge for Digital Archaeology of a different kind: it is not technical in and of itself, it does not seek out technological solutions for archaeological problems, it does not propose new digital tools or digital methodologies as such. Instead, it proposes a broader challenge, one which addresses the very stuff of archaeology: an understanding of how digital technologies influence and alter our relationships with data, from their creation and storage ultimately through to the construction of archaeological knowledge. It argues that currently this area is under-theorised, under-represented, and under-valued, yet it is increasingly fundamental to the way in which we arrive at an understanding of the past. Keywords: digital archaeology, digital data, introspection, digital intervention, digital intermediation DOI 10.1515/opar-2015-0002 Received December 4, 2014; accepted February 2, 2015 1 Ghosts in the machine In 2011, James Bridle coined the term New Aesthetic to describe his curation of a series of images on Tumblr which he saw as pointing “towards new ways of seeing the world, an echo of the society, technology, politics and people that co-produce them .. -
RES.7 the Presentation of Wall Paintings
THE PRESENTATION OF WALL PAINTINGS Views, Concepts, and Approaches Ljubljana, 2020 Original title in Slovenian: Zavod za varstvo kulturne dediščine Slovenije Restavratorski center PREZENTACIJA STENSKIH POSLIKAV – pogledi, koncepti, pristopi Monografska objava prispevkov, nastalih leta 2018 iz referatov z dveh simpozijev: Retuša in problematika prezentiranja stenskih poslikav, Škofja Loka, 27. 10. 2016 in Estetska prezentacija stenskih slik – problemi in rešitve, Narodna galerija, Ljubljana, 3. 10. 2017. RES.7 publikacije ZVKDS Restavratorskega centra Institute for the Protection of Cultural Heritage of Slovenia Restoration Centre THE PRESENTATION OF WALL PAINTINGS – Views, Concepts, and Approaches Monograph of papers from 2018 based on talks given at the symposia: Retouching and the Issues of Wall Painting Presentation, Škofja Loka, 27 Oct 2016, and The Aesthetic Presentation of Wall Paintings – Problems and Solutions, National Gallery, Ljubljana, 3 Oct 2017. RES.7 The publications of the IPCHS Restoration Centre Issued and published by: Institute for the Protection of Cultural Heritage of Slovenia, on its behalf: Jernej Hudolin Prologue: Mateja Neža Sitar Authors: Janez Balažic, Marta Bensa, Ivan Bogovčič, Vlasta Čobal Sedmak, Alberto Felici, Andrej Jazbec, Anita Kavčič Klančar, Martina Lesar Kikelj, Simona Menoni Muršič, Ajda Mladenovič, Minka Osojnik, Robert Peskar, Ursula Schädler-Saub, Mateja Neža Sitar, Ivan Srša, Klavdij Zalar, Gorazd Živkovič Photo credits: see Image Sources Editor: Mateja Neža Sitar Members of the editorial board: Vlasta Čobal Sedmak, Anita Kavčič Klančar, Martina Lesar Kikelj, Simona Menoni Muršič, Ajda Mladenovič, Mateja Neža Sitar Content revision: Ajda Mladenovič, Mateja Neža Sitar Peer review: Matej Klemenčič, Neva Pološki Sources and bibliography: Mateja Neža Sitar, Tanja Dolinar Foreign authors submitted their papers in English and Slovenian authors in Slovene. -
A Manifesto for an Introspective Digital Archaeology
Open Archaeology 2015; 1: 86–95 Original Study Open Access Jeremy Huggett A Manifesto for an Introspective Digital Archaeology Abstract: This paper presents a grand challenge for Digital Archaeology of a different kind: it is not technical in and of itself, it does not seek out technological solutions for archaeological problems, it does not propose new digital tools or digital methodologies as such. Instead, it proposes a broader challenge, one which addresses the very stuff of archaeology: an understanding of how digital technologies influence and alter our relationships with data, from their creation and storage ultimately through to the construction of archaeological knowledge. It argues that currently this area is under-theorised, under-represented, and under-valued, yet it is increasingly fundamental to the way in which we arrive at an understanding of the past. Keywords: digital archaeology, digital data, introspection, digital intervention, digital intermediation DOI 10.1515/opar-2015-0002 Received December 4, 2014; accepted February 2, 2015 1 Ghosts in the machine In 2011, James Bridle coined the term New Aesthetic to describe his curation of a series of images on Tumblr which he saw as pointing “towards new ways of seeing the world, an echo of the society, technology, politics and people that co-produce them ... It is a series of artefacts of the heterogeneous network, which recognises differences, the gaps in our overlapping but distant realities.” [1]. This New Aesthetic was predicated on the discovery and revelation of images which are embedded in digital technologies and without which they could not exist. Bridle described the New Aesthetic as ‘seeing like digital devices’ [2], although Sterling [3] argued that humans had ultimate responsibility for the creation of the digital imagery, describing the results as some kind of ‘wunderkammer’. -
The Removal of Overpaintings in the Case of a Newly Found Painting by Master HGG
Varstvo spomenikov 45 Simona Škorja The removal of overpaintings in the case of a newly found painting by Master HGG Keywords: parish church of St Martin’s, Laško, mature period of Master HGG, painting on canvas, conservation, restoration, ethics of removing overpaintings, scientific examination methods Abstract The article looks at the issue of overpaintings of works of art on canvas supports, with a focus on a newly discovered painting by Master Hans Georg von Geigerfeld from the parish church of St Martin’s in Laško, which had been overpainted in its entirety. The subject of the removal of overpaintings from works of arts is interesting from several points of view: the procedures involved in the actual removal, scientific testing procedures, the interpretation of research results and the professional and ethical dilemmas faced by restorers during this process. The article introduces the methods and procedures used in the removal of overpaintings and discusses the issues raised during the conservation- restoration work carried out on the painting in question. Introduction The oil painting on canvas showing the Holy Trinity (83.5 x 51.5 cm) is part of the Rosary altar from the parish church of St Martin’s in Laško.1 In 2006 the painting was brought to the easel painting department of the Restoration Centre at the Institute for the Protection of Cultural Heritage of Slovenia (RC ZVKDS) as part of the project to restore the altarpiece.2 Even an initial close inspection in visible light revealed that the painting had been overpainted with dense, thick applications of oil paint.