Peter Walsh MIT8 Abstract for Proposed Publication

Proposal for Public Media, Private Media (MiT8) “Media and the Construction of the Celebrity Counterpublic”

Peter Walsh, Boston Athenæum

Abstract: This paper traces the transition from the classical idea of fama to the modern celebrity in changes in media from changes in fourth century Roman art and architecture, through the print revolution, to the present and notes the widespread consequences.

Fama does not translate directly as our modern idea of fame. Fama means “talked about,” rumor, or reputation. Fama, the Romans assumed, was unstable and ﬁckle. As a goddess, she was famously malicious. Virgil1 describes her as a timid, small ﬁgure who grows monstrously, like rumors (or a viral video), until she stands with her head in the storm clouds. According to Ovid2, her home has no doors but a thousand windows.

Fama is closely associated with words. In the Roman Republic, words were useful and dangerous. They were steps to acclaim and high ofﬁce but they could also lead to jealousy, plots, exile, or worse.

Unlike fama, celebrity is especially visual. Images, unlike words, operate in the semi- conscious plane of symbols. If presented in a powerful way, images can be difﬁcult to

1 Aeneid, 4, 173-197. Virgil’s descriptions of Fama emphasize the verbal and the monstrous. Her spread of rumors has striking parallels with “going viral” on the Internet.

2 Metamorphoses, 12, 39-64.

1 pin down or dismiss. If the image is grand enough, the smallness of the subject can be forgotten. This power of images is magniﬁed as they are reproduced and become more familiar. Thus the image-reproducing capacities of new technologies, starting with printed images, powerfully expanded the capacity of celebrity to shape culture and power.

Using selected examples from the art and architecture of late antiquity, Christian hagiography of medieval world, the new media growing out of the nineteenth-century mass printing and mass literacy, and the contemporary, globalized world of television and the internet, this paper will show how changes in media has helped create a segregated, counter-public of celebrity that seems to transcend ordinary life.

This development has been forged by the three effects created by media change: public images became superﬁcially easier to construct by more individuals but much more difﬁcult to shape into a broad-based and lasting public life and personal heritage. At the same time, they have become less an aspect of the conscious brain than an element of the subconscious.

As a consequence, ancient distinctions between public and private life, legend and fact, normalcy and heresy, fame and celebrity have been progressively blurred and confused.

2 The paper will conclude by suggesting an endpoint in the detached celebrity, who exists more as an object of media than as an independent human being, and whose celebrity itself becomes a commodity that can be traded but not secured.

Preliminary Bibliography:

Athanasius of Alexandria, Life of Saint Anthony

Benjamin, Walter, “The Work of Art in the Age of Reproduction” (CreateSpace, 2010)

Beaudrillard, Jean, Mark Poster, ed., Selected Writings, second edition, revised and expanded (Stanford, VA: Stanford University Press, 2001).

Berlanstein, Lenard R., “Historicizing and Gendering Celebrity Culture: Famous Women in Nineteenth-Century France,” Journal of Women’s History 16 (Number 4, Winter 2004), pp. 65-91.

Blake, David Haven, “Public Dreams: Berryman, Celebrity, and the Culture of Confession” American Literary History 13 (Number 4, Winter 2001), pp. 716-736.

Bowersock, G. W., Peter Brown, and Oleg Grabar, Late Antiquity: A Guide to the Postclassical World (Cambridge, MA: Harvard University Press, 1999)

Brown, Peter, Augustine of Hippo: A Bibliography, A New Edition with a Epilog (Berkeley and Los Angeles: University of California Press, 2000).

De Vos, Jan, “On Cerebral Celebrity and Reality TV: Subjectivity in Times of Brain Scans and Psychotainment,” Conﬁgurations 17 (Number 3, Fall 2009), pp. 259-283.

Engel, Laura, Fashioning Celebrity: Eighteenth Century British Actresses and Strategies for Image Making (Columbus, Ohio State University Press, 2011)

Eusebius of Caesarea, Life of Constantine.

3 Everitt, Anthony, Cicero: The Life and Times of Rome’s Greatest Politician (New York: Random House, 2003)

Galow, Timothy W., “Literary Modernism in the Age of Celebrity,” Modernism/modernity 17 (Number 2, April 2010), pp. 313-329.

Fisher, Judith Law, “‘In the Present Famine of Anything Substantial’: Fraser’s ‘Portraits’ and the Construction of Literary Celebrity,” Victorian Periodicals Review 39 (Number 2, Summer 2006), pp. 97-135.

Grant, Michael, Constantine the Great: The Man and His Times (New York: Scribner Book Company, 1993).

Inglis, Fred, A Story History of Celebrity (Princeton: Princeton University Press, 2009).

Jaffe, Aaron, “Adjectives and the Work of Modernisms in an Age of Celebrity,” The Yale Journal of Criticism 16 (Number 1, Spring 2003), pp. 1-37.

______, “A Short History of Celebrity (review),” Modernism/modernity 19 (Number 1, January 2012), pp. 208-209.

Kamons, Andrew, “Celebrity and Politics,” SAIS Review 27 (Number 1, Winter-Spring 2007)

King, Barry, “Stardom, Celebrity, and the Money Form,” The Velvet Light Trap 65 (Spring 2010), pp. 7-19.

Marien, Mary Warner, Photography: A Cultural History, third edition. (Boston: Pearson, 2012).

Newbury, Michael, “Celebrity Watching,” American Literary History 12 (Number 1 and 2, Spring/Summer 2000, pp. 272-283.

Plutarch, Parallel Lives

Podnieks, Elizabeth, “Celebrity Bio Blogs: Hagiography, Pathography, and Perez Hilton,” a/b: Auto/Biography Studies 24 (Number 1, Summer 2009), pp. 53-73.

Sear, Frank, Roman Architecture (Cornell, Cornell University Press, 1989).

Snyder, Robert W., “American Journalism and the Culture of Celebrity,” Reviews in American History 31 (Number 3, September 2003), pp. 440-448.

Stephens, Mitchell, The Rise of the Image, the Fall of the Word (New York: Oxford University Press, 1998).

4 Suetonius, The Twelve Caesars.

Virgil, Aenied.

Virgil, Metamorphoses.

Paul Virilio, interviewed by Sacha Goldman, “Celebration: A World of Appearances” Cultural Politics 8 (Issue 1, March 2012), pp. 61-72.

Robert Louis Wilken, The First Thousand Years: A Global History of Christianity (New Haven, Yale University Press, 2012).

Weitzmann, Kurt, ed., The Age of Spirituality: Late Antiquity and Early Christian Art, Third to Seventh Century (New York: The Metropolitan Museum of Art, 1979).

Wilson-Jones, Mark, Principles of Roman Architecture (New Haven: Yale University Press, 2000).

Wood, Jamie, “Playing the Fame Game: Biography, Celebrity, and Primacy in Late Antique Spain,” Journal of Early Christian Studies 20 (Number 4), pp. 613-640.

5 CURRICULUM VITAE

PETER L. WALSH prepared: August 2013

(ofﬁce) Boston Athenæum 10 1/2 Beacon Street Boston, MA 02108 617-720-7639; [email protected]

(residence) 19 South Munroe Terrace Dorchester, MA 02122 617-894-1170 (mobile); [email protected]

Professional experience:

BOSTON ATHENÆUM, Boston, MA ! (March 2009 – present) * Associate Director of Development-- Communcations (October 2011 – present).. * Consultant in Development and Communications (March 2009 - September 2011).

ANDOVER NEWTON THEOLOGICAL SCHOOL, Newton Centre, MA (February 2009 – November 2010) * Webmaster.

GLOBAL NARRATIVES, Inc. (DBA The Arts Fuse), Somerville, MA ! (2007 – present) * Strategy and Development Director (April 2009 – March 2011) grant writing, development strategy, initiation of membership program. * Art Critic, Book Reviewer, and Columnist (June 2007 - present).

DARTMOUTH COLLEGE, Hanover, NH (October 2000 – May 2010) * Web production, Dartmouth Life, Vox of Dartmouth (July 2008 – May 2010) web production for Dartmouth publications. * Contributing writer, Dartmouth Life, Vox of Dartmouth, Alumni Website and other publications (June 2004 – May 2010) numerous news stories on research, conferences, student activities, campus programs, proﬁles and interviews. * Consultant in email communication projects (May 2002 – December 2002) Peter L. Walsh, p. 2

* Consultant to the Dartmouth College Committee on Race in the Academy and author, “Report of Conference Race Matters in the University of the 21st Century” (August 2002 – April 2003) * Consultant to the S.E.E.ing the Future Conference and its report on the future of the science funding in the United States, organized by the Jemison Institute (October 2000-July 2001)

WBUR Arts, WBUR-FM/NATIONAL PUBLIC RADIO, Boston, MA (December 2001-July 2006) * Art and architecture critic, on-line web-based arts project

COMMONWEALTH OF MASSACHUSETTS ART COMMISSION, Boston, MA (December 1987 – December 2004) * Chairman (December 1995 – December 2004) * Vice-Chairman (December 1992 – December 1995) * Commissioner (December 1987 – December 2004)

MUSEUM OF FINE ARTS, BOSTON, Boston, MA (June 1992 – September 2004) * Consultant in Marketing and Development, speechwriter (December 1994-September 2004) * Director of Development and Campaign Communications (July 1994 - December 1994) * Campaign Communications Ofﬁcer (June 1992 - July 1994)

MUSEUMS MAGAZINE, ART KNOWLEDGE CORP., New York, NY (January 1997-January 2006) * Contributing writer, contributing editor, website consultant

METROPOLITAN MUSEUM OF ART, New York, NY (September 1999 – December 2001) * Website consultant and contributing writer

DAVIS MUSEUM AND CULTURAL CENTER, Wellesley College, Wellesley, MA (December 1994 – October 1999) * Director of Information and Institutional Relations, Webmaster, Technology Projects Manager, Manager for AMICO

HARVARD UNIVERSITY ART MUSEUMS [comprising the Fogg Art Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum], Cambridge, MA (January 1979 - May 1992) * Director of Publications and Information, Harvard University Art Museums (July 1990-May 1992) * Director of Communications, Harvard University Art Museums (July 1988- July 1990)

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* Director of Publications and Public Relations, Harvard University Art Museums (July 1986-July 1988) * Publications and Public Relations Ofﬁcer, Fogg Art Museum and Busch- Reisinger Museum (July 1983-July 1986) * Publications and Public Relations Ofﬁcer, Fogg Art Museum (Jan. 1979- July 1983)

HARVARD UNIVERSITY MUSEUMS OF NATURAL HISTORY, Cambridge, MA (May 1974 - June 1978) * Director of Exhibits (Sept. 1976 - June 1978) * Director of Museum Education (Sept. 1976 - Sept. 1977) * Assistant Director of Public Programs (Sept. 1975 - Sept. 1976) * Editor of Publications (May 1974 - Nov. 1976)

HARVARD UNIVERSITY GRADUATE SCHOOL OF DESIGN, Cambridge, MA (Apr. 1974 - Dec. 1974) * Writer/Editor, Landscape Architecture Dept.

EDUTRONICS SYSTEMS INTERNATIONAL, INC., Wakeﬁeld, MA [later a division of McGraw-Hill, Inc., NY] (July 1973 - Apr. 1974) * Editorial Assistant

Selected short-term assignments, consulting projects, and freelance:

Ampersand Solutions, Newton, MA: marketing strategy and preparation of proposals for management consulting ﬁrm (1996-2000) Argus-Champion, New London, NH: theatre critic (2008) Arnold Arboretum of Harvard University, Boston, MA: jury of annual poster competition and exhibition (1988, 1989), exhibition design and installation (1989) Architectural Resources Cambridge, Cambridge, MA: writing and communications, including speech writing, articles, press releases, book chapters (1989-1992) Art Knowledge Corporation, New York, NY. marketing and website consultant (1998-2000) Art Museum Image Consortium (AMICO), Pittsburgh, PA: founding organizer, member of Users and Uses Committee, coordinator for Wellesley College (1997-1999); consultant in research and development and in educational materials (2000-2001) The Arts Fuse, Boston, MA. contributing critic, reporter, and columnist (2007- present) Boston Foundation, Boston, MA: communications consultant (1980-1983) Boston Phoenix Literary Supplement (PLS), Boston, MA: critic for art and architecture books (1994-1997) Boston Zoological Society, Boston, MA: exhibition and slide presentation design for groundbreaking of new Zoo pavilion (1978)

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Colby-Sawyer College, New London, NH: assistant director of web communications, editorial webmaster, during web relaunch (2006-2007) College Art Association, New York, NY: member, Committee on Intellectual Property (1997-2001); chairman (2001) Connecticut Valley Spectator, Lebanon, NH: news and features correspondent, reporter (2007-2008) Cultural Education Collaborative, Boston, MA: member Plans and Policies Committee (1976-1978) Dance Circle of Boston, Inc., Cambridge, MA: board member and design consultant (1974-1975) Dartmouth College, Ofﬁce of Public Affairs, Hanover, NH: consultant in various communications and publications projects (1997-present) Harvard University Gazette, Cambridge, MA: freelance writing and reporting on outstanding Harvard students, historic preservation projects, community service projects, and historical topics (1992-1993) Harvard University Museum of Natural History, Cambridge, MA: exhibition consultant (1983) Image Directory (ID), Academic Press, San Diego, CA: member of executive advisory board to the development of a comprehensive reference tool for images (1996-1999) Jan Krukowski and Co., New York, NY: development communications consultant (2001) Museums Magazines, New York, NY: contributing writer and editor (1997-2006) Museums of Boston, Boston, MA: member steering committee, co-chair program committee (1983-1984) National Gallery of Art, Washington, DC: exhibition guides in collaboration with Art Knowledge Corp. (1998-present) National Initiative for Networked Cultural Heritage (NINCH), Washington, DC: reporting for Copyright CAA-NINCH Town Meeting (2003). Oberlin College, Oberlin, OH: Education Commission, Inter-Arts Committee, Dance Program Committee, assistant to the vice-president (Sept. 1969- May 1973) instructor, Writing Program (1972-1973) student member of the Educational Plans and Policies Committee (1971-1973) ODC Dance Company, San Francisco, CA: founding member (1972), writer, business manager for company now listed as one of the “Notable American Dance Companies” in World Almanac. Open Door Gallery, Cambridge, MA (December 1992 to 1993): marketing and public relations consulting. Peabody Museum, Harvard University (1977-1979): exhibition planning and design. Rutherford Gallery, Boston, MA (1990-1991): writing and communications.

Grants, awards, honors:

Marquis’ Who’s Who in the World, 21st edition, 2004 (and various later editions). Marquis’ Who’s Who in America, 56th edition, 2002 (and various later editions).

4 Peter L. Walsh, p. 5

Grants for general museum operations from the Institute of Museum and Library Services, the Massachusetts Cultural Council, National Endowment for the Arts, and many individual donors and foundations. Award from the 94th Infantry Division Association, World War II, on the dedication of the 94th Division Mural, Massachusetts State House, October 2003. Numerous awards for publication design and excellence from the American Association of Museums, New England Museum Association, and the College Art Association, 1980-91. Grants in support of museum educational programming from the Commonwealth of Massachusetts, the National Science Foundation, and the Massachusetts Council on the Arts and Humanities, 1976-82.

Selected talks, publications, lectures, talks, and citations:

Books, book chapters and contributions, reports:

The Simmering Horizon: Meditations on Art, Media, and Technology, ms. in preparation. “In the Realm of the Censors,” article excerpt reprinted in Charles Brady and Philip Roden, eds., World History Mini-Q’s (teacher resource binder, student text), The DBQ Project, 2010. “The Web and the Unassailable Voice,” article reprinted in Ross Parry, ed., Museums in a Digital Age, Routledge, 2010. “The Rise and Fall of the Post-Photographic Museum,” in Fiona Cameron and Sarah Kenderdine, eds., Theorizing Digital Cultural Heritage, MIT Press, 2007. Reviewed as “Essential,” highest ranking possible, in Choice (November 2007). “Map Quest” in Else/Where Mapping: New cartographies of Networks and Territories, Janet Abrams, Peter Hall, et al, eds., University of Minnesota Design Institute/University of Minnesota Press, 2006. Widely reviewed, named a “Best Book of 2006” by Slate magazine (December 2006), and received an award of distinction from I.D. Magazine (July 2007). Report of the Race Matters Conference at Dartmouth College, Dartmouth College, 2003. “That Withered Paradigm: The Web, the Expert, and the Information Hegemony,” in Democracy and New Media, Henry Jenkins, David Thorburn, Brad Seawell, eds., MIT Press, 2003 (Media in Transition Series). Report of the S.E.E.ing the Future Conference at Dartmouth College, with Mae Jemison, et al, Dartmouth College, 2002. “The Headless Curator: Art in the Age of Universal Access,” in Computing and Visual Culture: Representations and Interpretation, Tanya Szrajber, ed., CHArt, London, 1999. “Museums and Copyright: A Hidden Dilemma,” in Copyright and Fair Use: The Great Image Debate, Robert A. Baron, ed., The Netherlands, Gordon and Breach, 1997.

5 Peter L. Walsh, p. 6

“essential contributions” to, joint copyright, and royalty share in A Cloud on Sand (a novel), with Gabriella de Ferrari, Alfred A. Knopf, 1990. (foreign rights sold: British Commonwealth [Chapman’s], French [Robert Laffont], German, Italian, Japanese, Danish rights sold. Paperback rights sold, paperback edition appeared 1992 [Washington Square Press, Simon & Schuster]. Optioned, 1989, for movie to be directed by Martin Scorsese; option renewed 1991, 1992, 1993, 1994. Widely reviewed in U.S., U.K., and Japan. Included in the list of the “Ten Best Books of 1990” by Entertainment Weekly (December 1990) Cited in Geoffrey O’Brien, The Reader’s Catalogue: An Annotated Listing of the 40,000 Best Books in Print in Over 300 Categories (1997), p. 947. Henri Rousseau and the Twilight of History: A “Primitive” in the Age of Progress, master’s thesis, Harvard University, 1985 (available in the Harvard University Archives). contributions to: Old Master Drawings: The Loeser Collection, Konrad Oberhuber, ed., Fogg Art Museum, Harvard University, 1980.

Published articles and columns:

“Reverse Curve for the Arts,” The Arts Fuse, March 2009. “The X-Box War,” The Arts Fuse, January 2008. “New Art in Old Buildings,” The Arts Fuse, February 2007. “This Invisible Screen: Television and American Art,” Smithsonian Journal of American Art, Summer 2004. “Digital Logjam: The brave new world promised by digital technology remains, for art museums, just beyond the horizon,” WBUR Arts, the online arts pages of National Public Radio station WBUR, Boston University, Boston, MA. April 2004. “The Dahesh Museum,” a guide to the new Dahesh Museum, New York City. The Art Knowledge Corporation in cooperation with the Dahesh Museum, 2003. “Buildings in Quotes: The Strange, Sad State of American Architecture,” WBUR Arts, the online arts pages of National Public Radio station WBUR, Boston University, Boston, MA. March 2003. “All of a Peace,” Boston Sunday Globe, October 27, 2002. “The Tradescant Parable,” Spectra Millennium Issue, Museum Computer Network, 2000. “From the Mountains of the Moon to the Neon Paintbrush: Seeing and Technology,” Journal of the American Society of Information Science, 51 (1): 39-48 2000. “Diego Rivera,” a guide to the Diego Rivera exhibition at the Los Angeles County Museum of Art, The Art Knowledge Corporation in cooperation with the Los Angeles County Museum of Art, 1999.

6 Peter L. Walsh, p. 7

“Charles and Ray Eames,” a guide to The Work of Charles and Ray Eames: A Legacy of Invention at the Library of Congress, Washington, DC. The Art Knowledge Corporation in cooperation with the Library of Congress, 1999. “From the Mountains of the Moon to the Electric Paintbrush,” in David Bearman and Jennifer Trant, eds., Museums and the Web 1999: Selected Papers from an International Conference (Pittsburgh: Archives and Museums Infometrics, 1999). “Van Gogh’s van Gogh’s,” a guide to the Vincent van Gogh exhibition at the National Gallery, Washington. The Art Knowledge Corporation in cooperation with the National Gallery, 1998. “Calder’s Cosmos,” a guide to the Alexander Calder retrospective at the National Gallery, Washington. The Art Knowledge Corporation in cooperation with the National Gallery, 1998. “The Web and the Unassailable Voice,” Archives and Museum Informatics: Cultural Heritage Informatics Quarterly, Volume II, No. 2. Dordrecht, The Netherlands: Kluwar Academic Publishers, 1997. “Museums and Copyright: A Hidden Dilemma,” in Visual Resources: An International Journal of Documentation (special issue), Robert A. Baron, ed., Amsterdam, The Netherlands: Gordon and Breach Science Publishers, February, 1997. Also published in book form (see above). “Ten Masterpieces in Manhattan,” Boston Sunday Globe, October 10, 1993 (front page and lead story, Travel Section). Articles on student ecology projects and work with the homeless, teaching and student awards, minority student, commencement, etc. Harvard University Gazette, Spring and Summer 1992. “Historic Restorations in Harvard Yard,” series of articles, Harvard University Gazette, Spring 1992 - Spring 1993. “Museums and Education,” Harvard University Art Museums Review, February 1992. “Géricault,” Harvard University Art Museums News, Summer 1991. (described by former Fogg Art Museum Director Agnes Mongan as the best piece of writing she has seen on Géricault.) “From Geronimo to Jazz,” Boston Review, June 1991. “Art in Democratic Times,” Art New England, June 1991. “In the Realm of the Censors,” Boston Review, February 1991. (cover story; quoted in “Government and the Terms of Debate,” article by Charles Trueheart in The Washington Post, January 15, 1991.) “Public Images,” Boston Review, March 1990. (cover story.) “Flags, Symbols, and Politics,” Art New England, October 1989.

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Book and Exhibition Reviews (selected list):

“All About Art (Except the Art),” review of I Sold Andy Warhol (too soon) by Richard Polsky, The Arts Fuse, September 2009. “Building on the Edge: The innovative new building of the Institute of Contemporary Art in Boston takes museum design into uncharted territory” WBUR Arts, the online arts pages of National Public Radio station WBUR, Boston University, Boston, MA. April 2006. “A Stella Year,” review of Frank Stella 1958 at the Harvard University Art Museums, September 2005, WBUR Arts, the online arts pages of National Public Radio station WBUR, Boston University, Boston, MA. February 2006. “The Real Degas,” review of Edgar Degas: Six Friends at Dieppe at the RISD Museum of Art, Providence, RI October 2005, WBUR Arts, the online arts pages of National Public Radio station WBUR, Boston University, Boston, MA. October 2005. “Our Man in Havana,” review of Havana: Photographs by Robert Polidori at the Peabody-Essex Museum, Salem, MA. , WBUR Arts, the online arts pages of National Public Radio station WBUR, Boston University, Boston, MA. November 2004. “A Religion of One,” review of Marsden Hartley at the Wadsworth Atheneum, Hartford, CT, March 2003, WBUR Arts, the online arts pages of National Public Radio station WBUR, Boston University, Boston, MA. March 2003. “Weird Lost World,” review of Cosimo Tura at the Isabella Stewart Gardner Museum, Boston, MA, WBUR Arts, the online arts pages of National Public Radio station WBUR, Boston University, Boston, MA. March 2002. “Societe Anonyme,” review of Société Anonyme Anniversary Exhibition at the Yale Art Gallery, New Haven, CT. WBUR Arts, the online arts pages of National Public Radio station WBUR, Boston University, Boston, MA. February 2002. “Phony Photos,” review of photography exhibitions at the Worcester Art Museum Worcester, MA and the Peabody Essex Museum, Salem, MA, WBUR Arts, the online arts pages of National Public Radio station WBUR, Boston University, Boston, MA. January 2002. “Wilson’s Way,” review of Robert Wilson’s Stations of the Cross at MASS MoCA, North Adams, MA, WBUR Arts, the online arts pages of National Public Radio station WBUR, Boston University, Boston, MA. December 2001. Review of A Museum Guide to Copyright and Trademark, Michael S. Shapiro and Brett I. Miller, CAA Reviews, January-June 2000, College Art Association, New York, website (www.caareviews.org). “Sargent in Silhouette” a guide to the John Singer Sargent exhibition at the National Gallery of Art, Washington, DC. The Art Knowledge Corporation in cooperation with the National Gallery of Art, 1999. “For the Love of Gas Meters: Fernand Leger at MoMA,” Museums New York, Vol. 4, No. 1, winter 1998

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“Breaking Free of Gravity: Rauschenberg at the Guggenheim,” Museums New York, Vol. 3, No. 4, Fall/Holiday 1997-98. “Media Medium,” review of Forward through the Rearview Mirror: Reﬂections on and by Marshall McLuhan, edited by Paul Benedetti and Nancy DeHart. PLS: The Boston Phoenix Literary Supplement, March, 1997. “Are Words Dead?: Designer David Carson’s revenge on the stony Roman alphabet looks softer in the context of calligraphy,” PLS: The Boston Phoenix Literary Supplement, March, 1996. Review of The End of Print: The Graphic Design of David Carson by Lewis Rockwell and David Carson and The Story of Writing: Alphabets, Hieroglyphs, and Pictograms by Andrew Robinson (cover story). “Coffee-table cues: We are (maybe) what we display-- from the tilt of the Titanic to the odd familiarity of Arbus faces,” PLS: The Boston Phoenix Literary Supplement, December 1995. Review of six contemporary coffee table books (cover story). “Dummy show: On the grand opera of mute mannequins in display windows,” PLS: The Boston Phoenix Literary Supplement, November 1995. Review of Vital Mummies: Performance Design for the Show Window Mannequin by Sara K. Schneider. “Pan plays on: Panofsky’s views of style in art both amuse and amaze,” PLS: The Boston Phoenix Literary Supplement, August 1995. Review of Three Essays on Style by Erwin Panofsky. “What an eye! Manet as painter, gardener, and creator of T-shirt motifs,” PLS: The Boston Phoenix Literary Supplement, July 1995. Review of Claude Monet: Life and Art by Paul Hayes Tucker and Monet: Late Paintings of Giverny from the Musée Marmottan by Paul Hayes Tucker, Elizabeth Murray, and Lynn Federle Orr. “Memory Lanes: Cities and buildings we live and work in remind us who we are,” PLS: The Boston Phoenix Literary Supplement, April 1995. Review of The City of Collective Memory by M. Christine Boyer and Chambers for a Memory Palace by Donlyn Lyndon and Charles W. Moore. “Class or kitsch? Philip Johnson’s deﬁance of convention is hard to assess,” PLS: The Boston Phoenix Literary Supplement, January 1995. Review of Philip Johnson: Life and Work by Franz Schulze. “Art History at War: Dry versus wet in Egypt and America,” PLS: The Boston Phoenix Literary Supplement, December, 1994. Review of two exhibition catalogues and a book on theory. “Book Review: Art for Work by Marjory Jacobson,” Art New England, January- February 1994. “The Architects' Conspiracy,” Art New England, October 1990. “Installation and Place,” Sculpture, September 1990. “A Delicate Balance,” Art New England, May 1990. “Swinging with the Times,” Art New England, March 1990.

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Public lectures, seminars, and conferences:

“Media and the Construction of Public Life,” Media in Transition 8: Public Media, Private Media, international conference, Massachusetts Institute of Technology, Cambridge, May 2013. “The Map of Mysteries: Vespucci’s Clouded Legacy in the New Work,” The Boston Athenæum, April 2013. “A House in Common: the Creation, Loss, Discovery, Denial, Loss, and Discovery of Cave Art,” The Boston Athenæum, March 2012. “The ‘Expert Paradigm’ Revisited: Media Change and the Consensus Narrative,” Media in Transition 7: Unstable Platforms: The Promise and Peril of Transition, international conference, Massachusetts Institute of Technology, Cambridge, May 2011. “Tablets, Scrolls, and Scripture: The Lessons of Nineveh,” Andover Newton Theological School, October 2010. “King Ashurbanipal’s Library and the Lessons of Nineveh,” The Boston Athenæum, November 2009. “Archives and History,” opening plenary, Media in Transition 6: Stone and Papyrus, Storage and Transmission, international conference, Massachusetts Institute of Technology, Cambridge, MA, April 2009 (moderator and opening remarks). “The Uses of Catastrophe: Nineveh, Layard, and the Future of Knowledge,” Media in Transition 6: Stone and Papyrus, Storage and Transmission, international conference, Massachusetts Institute of Technology, Cambridge, MA, April 2009. “The Painters and the Miracles: How Morse and Daguerre Created the Idea of Media,” Media in Transition 5: Creativity, Ownership, and Collaboration, in the Digital Age, international conference, Massachusetts Institute of Technology, Cambridge, MA, April 2007. “The Map that Named America: Vespucci, Waldseemüller, and the Transformation of the World,” Humanities Seminar Series, Colby-Sawyer College, New London, NH, October 2006. “American Media Trinity: the Truth, the News, and the Presumptive Narrative,” Media in Transition 4: The Work of Stories, international conference, Massachusetts Institute of Technology, Cambridge, MA, May 2005. “Muse Tube: Television and the American Avant-Garde,” Media in Transition 3: Television, international conference, Massachusetts Institute of Technology, Cambridge, MA, May 2003. “Audiences and Hierarchies of Taste,” panel moderator. Media in Transition 2, international conference, Massachusetts Institute of Technology, Cambridge, MA, May 2002. “Homer at Home: Myth, Image, and the Ideology of Television,” Media in Transition 2, International Conference, Massachusetts Institute of Technology, Cambridge, MA, May 2002. “The Lively Mausoleum: Notes toward a Uniﬁed Theory of the Image,” College Art Association Annual Conference, Philadelphia, PA, February 2002.

10 Peter L. Walsh, p. 11

Keynote address: “The Painters on the Albert Memorial: Canons, Taste, and Technology,” ICHIM 2001, Instituto Politecnico di Milano, Milan, Italy, September 2001. “MIT Communications Forum: The Digital Museum,” moderator. Massachusetts Institute of Technology, Cambridge, MA, March 2001. “The Web, the Millennium, and the Clerks of Nostalgia: Effects of Electronic Media on Visual Studies,” Time: Art History for the Millennium Conference, International Congress of Art Historians (CIHA), Section 23: “Digital Art History Time,” Robert DeRome and William Vaughn, co-chairmen, Kings College, London, UK, September, 2000. Published by the Art History Webmasters Association, Montreal, PQ, Canada. “The Man with the Blue Guitar: The Discrete Art Historical Subversions of the Electronic Media,” College Art Association Annual Conference, “Outsider Art History” panel, Gary Schwartz, chairman. New York, NY, February 2000. “That Withered Paradigm: The Web, the Expert, and the Information Hegemony,” Media in Transition, a conference to inaugurate the graduate program in Comparative Media Studies, Massachusetts Institute of Technology, Cambridge, MA, October 1999. Published in Democracy and New Media (see above). “Shock of the View at Wellesley,” presentation in panel “Shock of the View,” Third International Museums and the Web Conference, New Orleans, LA, March 1999. “Contradictions in Visual Copyright,” presentation in panel “Developments in Copyright, U.S. and Europe,” Third International Museums and the Web Conference, New Orleans, LA, March 1999. Keynote address: “From the Mountains of the Moon to the Electric Paintbrush,” Third International Museums and the Web Conference, New Orleans, LA, March 1999. Published in Museums and the Web 1999 Proceedings, Museum and Archives Infometrics, 1999 and in Journal of the American Society for Information Science (see above). “The Headless Curator: Art in the Age of Universal Access,” Fourteenth Computers in the History of Art (CHArt) Conference, Victoria and Albert Museum, London, UK, September 1998. Published by CHArt (see above). “The Web and the Horse in the Cave: New Technologies and the Meaning of Art,” Second International Museums and the Web Conference, sponsored by CHIN, Toronto, Ontario, April, 1998. Published in Museums and the Web 1998 Proceedings. Museum and Archives Infometrics 1998. “The Seeds of Revolution: The Art Museum Image Consortium,” Panel Discussion, College Art Association Conference, Toronto, Ontario, February 1998 “The Coy Copy: Technology, Copyright, and the Mystique of Images,” Town Forum on Copyright, sponsored by the Kress Foundation, at the College Art Association Conference, Toronto, Ontario, February 1998. Guest seminar on the history of image copyright, Computer Sciences Department, Dartmouth College, October 1997.

11 Peter L. Walsh, p. 12

Guest seminar presentation on the state of image copyright, Computer Sciences Department, Dartmouth College, February 1997, and November 1997. “New Technologies and the Ownership of Images,” Thirteenth Computers in the History of Art (CHArt) Conference, University of Northumbria, Newcastle on Tyne, UK, September 1997. “The Web and the Unassailable Voice,” First International Museums and the Web Conference, Sponsored by the Getty Information Institute, Los Angeles, CA, March, 1997. “Gaps in Time: Art Museums and the New Technologies,” presentation for panel on “Multimedia Applications for Museums,” World Conference on Education Multimedia and Hypermedia and World Conference on Educational Telecommunications, Association for the Advancement of Computing in Education, Boston, MA, June 19, 1996. “Practical Issues of Quality for the Practicing Artist,” Art Institute of Boston Lecture Series, February 6, 1992.

Technology and World Wide Web projects:

Founding organizer, Art Museum Image Consortium (AMICO); numerous web- based projects, including Truth in Advertising (with Prof. Miranda Marvin) and The Shock of the View: Artists, Audiences, and Museums in the Digital Age (with the Walker Art Center, Minneapolis, MN); The Secret Gallery: Hidden Stories of the Collection (Gallery Investigation at the Davis Museum and Cultural Center, Wellesley College), relaunch and content improvements (November 2006) Colby-Sawyer College website.

Citations, articles about:

Cynthia D. Bond, “We, the Judges: The Legalized Subject and Narratives of Adjudication in Reality Television,” UMKC Law Review 81 (Issue 1, December 2012): 44-45. Stuart Davis, Writing and Heritage in Contemporary Spain: The Imaginary Museum of Literature (Woodbridge, UK: Tamesis Books, 2012), p. 42, n. 61. David Weinburger, Too Big to Know: Rethinking Knowledge Now That the Facts Aren’t the Facts, Experts Are Everywhere, and the Smartest Person in the Room is the Room (New York: Basic Books, 2012). Carolyn Dinshaw, How Soon is Now?: Medieval Texts, Amateur Readers, and the Queerness of Time (Durham: Duke University Press, 2012), p. 22. R. J. Wilson, “Behind the scenes of the museum website,” Museum Management and Curatorship 26 (Issue 4, August 2011): 373-389. David Bearman, “Geo-Aware Digital Cultural Heritage: Museum Opportunities and Experiences,” in Emmanuel G. Blanchard and Daniele Allard, eds., Handbook of Research on Culturally-Aware Information Technology: Perspectives and Models (2011).

12 Peter L. Walsh, p. 13

Damien S. Pﬁster, “Networked Expertise in the Era of Many-to-many Communication: On Wikipedia and Invention” Social Epistemology 25 (Number 3, July 2011): 223. Chiel van den Akker, et al, “Digital Hermeneutics: Agora and the Online Understanding of Cultural Heritage” in Proceedings of the ACM WebSci ’11 (June 14-17, 2011, Koblenz, Germany). Jørgen Riber Christensen, “Four steps in the history of museum technologies and visitors’ digital participation” MedieKultur/Journal of media and communications research 50 (2011): 11-23. Hans Dam Christensen, “The Repressive Logic of a Profession? On the Use of Reproductions in Art History” Kunsthistorisk tidskrift/Journal of Art History 79 (Issue 4, 2010). Kristen R. Eschenfelder and Michelle Caswell, “Digital Collections in an Age of Reuse and Remixes” Proceedings of the American Society for Information Science and Technology 47 (Issue 4, November/December 2010): 1-10. Mark Nunes, Error: Glitch, Noise, and Jam in New Media Cultures (New York, 2010), p. 169. Nick Tyson and Valentia Cartei, “Conveyor 2: Linking communities and cultural heritage” in Networks of Design: Proceedings of the 2008 Annual International Conference of the Design History Society (UK) (2010), p. 390. Jennifer Trant, “Emerging Convergence? Thoughts on Museums, Archives, Libraries, and Professional Training” Museum Management and Curatorship 9 (Issue 4, December 2009): 369-387. Scott Sayre and Katherine Burton Jones, “Review of Fiona Cameron and Sarah Kenderdine, eds., Theorizing Digital Cultural Heritage” Museum Management and Curatorship 9 (Issue 4, December 2009): 401-405. Saskia Vermeylen and Jeremy Pilcher, “Let the Objects Speak (2): Online Museums and Indigenous Cultural Heritage,” International Journal of Intangible Heritage 4 (2009): 59-77. Katherine Gregory and Emily Wood, “Controlled Demolitions: The 9/11 Truth Movement,” in Ingrid Holtz-Davies, Anton Kirkhofer, and Sirpa Leppanen, eds., Internet Fictions (Cambridge, UK, 2009), pp. 204-205, 207-208, 217. Debra A. Riley-Huff, “Design Insights and Inspiration from the Tate: What Museum Websites Can Offer Us,” portal: Libraries and the Academy 9 (No. 1, January 2009): 79-98. Jonathan Gray, Jeffrey P. Jones, and Ethan Thompson, Satire TV: Politics and Comedy in the Post-Network Era (New York, 2009), p. 144. David Bearman and Jennifer Trant, “Museum Websites and Digital Collections,” in Encyclopedia of Library and Information Sciences, Third Edition (New York 2009) Devorah Romanek, “Digital Curation: Theorizing the Digital Object,” The Annual Conference of the International Documentation Committee of the International Council of Museums (CIDOC) (Athens, Greece, September 2008).

13 Peter L. Walsh, p. 14

Diana Saiki, “Featuring Clothing and Textile Collections Online,” Aslib Proceedings 60 (No. 2, 2008): 99-110. Douglas Kocher, “Review of Henry Jenkins, Convergence Culture: Where Old and New Media Collide,” First Monday 13 (No. 5, May 5, 2008). Mats Hayen, “Digitalisering av konkursärendenden i Stockholm, 1687-1849,” Svenska historikermötet i Lund (April 2008). Jeremy Pilcher and Saskia Vermeylen, “From Loss of Objects to Recovery of Meanings: Online Museums and Indigenous Cultural Heritage,” M/C Journal 11 (No. 6, 2008). Michael Neuman, “Review of Fiona Cameron and Sarah Kenderdine, eds., Theorizing Digital Cultural Heritage,” Journal of Academic Librarianship 34 (No. 1, January 2008): 81-82. Paul F. Marty and Katherine Burton Jones, Museum Informatics: People, Information, and Technology in Museums (New York, 2008), pp. 37, 285, 325. Thomas Austin and Wilma de Jong, Rethinking Documentary: New Perspectives, New Practices (New York, 2008), p. 300. Pelle Snickars, “Kulturavet sprids med digital vind,” Svenska Dagbladet, September 17, 2007. Costis Dallas, “An Agency-Oriented Approach to Digital Curation Theory and Practice” ICHIM 07 (Toronto, September 2007). Darren Peacock and Jonny Brownbill, “Audiences, Visitors, Users: Reconceptualizing Users of Museum On-line Content and Services,” Museums and the Web 2007 International Conference (San Francisco, April 2007). Michael Pennell, “Review of Henry Jenkins and David Thorburn, eds., Democracy and New Media,” Technical Communication Quarterly 16 (No. 2, April 2007): 255-264. Ross D. Parry, Mayra Ortiz-Williams, and Andrew Sawyer, “How Shall We Label Our Exhibit Today? Applying the Principles of On-Line Publishing to an On-Site Exhibition.” Museums and the Web 2007 International Conference (San Francisco, April 2007). Henry Jenkins, “What Wikipedia Can Teach Us About the New Media Literacies,” Journal of Media Literacy 54 (Nos. 2 & 3, Winter 2007). Ross D. Parry, Recoding the Museum: Digital Heritage and the Technologies of Change (London, 2007). Costis Dallas, “Archaeological Knowledge, Virtual Exhibitions, and the Social Construction of Meaning,” Archeologia e Calcolatori, Supplemento (2007): 50, 63. Henry Jenkins, Convergence Culture (New York, 2006), pp. 29, 52-54, 263, 284 (glossary), index. Bruce N. Wright, “Thoroughly Modern Maps,” Print (July-August 2006), p. 104. Peter Lester, “Is the Virtual Exhibition the Natural Successor to the Physical?” Journal of the Society of Archivists 27 (No. 1, April 2006): 85-101. Slawomir Magala, “Virtual Blood, Real Media,” Kritikos 3 (April 2006).

14 Peter L. Walsh, p. 15

Susan Chun, et al., “Steve.museum: A On-going Experiment in Social Tagging, Folksonomy, and Museums,” Museums and the Web 2006 International Conference (Toronto, 2006). Henry Jenkins, Fans, Bloggers, and Gamers: Media Consumers in a Digital Age (New York, 2006), p. 259. Jennifer Trant, “Exploring the Potential for Social Tagging and Folksonomy in Art Museums: Proof of Concept,” New Review in Hypermedia and Multimedia 12 (No. 1, June 2006): 83-105. Jennifer Trant, Bruce Wyman, “Investigating Social Tagging and Folksonomy in Art Museums with steve.museum,” Collaborative Web Tagging Workshop at WWW2006, Edinburgh, Scotland, 2006. Nathaniel Poor, “Playing Internet Curveball with Traditional Media Gatekeepers,” Convergence: The International Journal of Research into New Media Technologies 12 (2006): 41-53. David Bearman and Jennifer Trant, “Social Terminology Engagement through Vernacular Engagement,” D-Lib Magazine 11 (No. 9, September 2005) “Brave New Museum,” Modern Kicks, May 21, 2005. Margarida Loran, “L’ús dels webs per a afavorir l’accés i l’increment de public als museus: experiències dels museus nacionals britànics,” Digithum (No. 7, May 2005), p. 7. Axel Bruns, Gatewatching: Collaborative On-Line News Production (New York, 2005), pp. 309, 318, 329 (bibliography). Slawomir Magala, Cross-Cultural Competence (Oxford, UK, and New York, 2005), pp. 54, 213 n. 3, 236 (references), index. David Bearman and Jennifer Trant, “Introduction,” Museums and the Web 2005: Selected Papers from an International Conference (Toronto, 2005). Canadian Heritage Information Network (CHIN), Museology Bibliography (BMUSE), undated on-line database. Costis Dallas, “The Presence of Visitors in Virtual Museum Exhibitions,” paper presented in the Numérisation, lien social, lectures colloquium (University of Crete, June 2004), p.12. John P. Renaud, “Review of Henry Jenkins and David Thorburn, eds., Democracy and New Media” Journal of the American Society for Information Science and Technology 55 (No. 6, January 2004): 561-562. Gerard Goggin, ed., Virtual Nation: Australia and the Internet (St. Lucia, Australia, 2004), p. 192 n. 29. Virginia Nightingale and Karen Ross, Critical Readings: Media and Audiences (Issues in Cultural and Media Studies) (Maidenhead, UK, 2003), p. 196. Stephen Wilson, Information Arts: Intersections of Art, Science, and Technology (Cambridge, MA, 2003). Andrea Witcomb, Re-Imagining the Museum: Beyond the Mausoleum (Museum Meanings) (Oxford, UK, 2003), pp. 119, 120, 122, 183, index. Nico Carpentier, Bart Cammaerts, Olga van Oost, Cultuur en ICT Verkennende analyses en gevalstudies (Gent, Belgium, 2002), p. 108.

15 Peter L. Walsh, p. 16

Patricia Rogers, ed., Designing Instruction for Technology-Enhanced Learning (London, 2002), pp. 212, 227. Genevieve Bell, “Making Sense of Museums: The Museum as ‘Cultural Ecology’” Intel Corporation (June 2002). David Bearman and Jennifer Trant, “Issues in Structuring Knowledge and Services for Universal Access to Online Science and Culture,” Nobel Symposium (NS120): Virtual Museums and Public Understanding of Science and Culture (Stockholm, Sweden, May 2002). Martin R. Kaﬂatovik, Creating a Winning On-Line Exhibition: A Guide for Libraries, Archives, and Museums (Chicago: ALA Editions, 2002), p. xv. Jennifer Trant, Kelly Richmond, David Bearman, “Open Concepts: Museum Digital Documentation for Education through the AMICO Library,” Art Libraries Journal 27 (No. 2, 2002). Henry Jenkins, “Interactive Audiences? The ‘Collective Intelligence’ of Media Fans,” in Dan Harries, ed., The New Media Book (London, 2002), p. 169. Roderick Davies and Marie Jefsioutine, “Designing a Virtual Gallery of Contemporary Jewellery, The Realities of the Virtual,” Digital Creativity 12 (issue 1, March 2001): 1-13. Pauline Ridley, “Review of Tanya Szrajber, ed., Computing and Visual Culture,” ADC-LTSN Newsletter (Issue 2, September 2000). Werner Schweibenz, “Art Online: Access and Copyright Issues for Digitized Museum Information,” Proceedings of the 8th International BOBCATSS Symposium: Intellectual Property and the Right to Knowledge (Jagiellonian University, Krakov, Poland, January 2000). Susan Hazan, “An International Conference for Museum Professionals Working on the Web,” Library High Tech News 16 (no. 8, 1999) Albert Badre and Anne Jacobs, “Usability, Aesthetics, and Efﬁciency: An Evaluation in a Multimedia Environment,” 1999 IEEE International Conference on Multimedia Computing and Systems icmcs 1 (1999). Ton Kalker, “System Issues in Digital Image and Video Watermarking for Copy Protection,” 1999 IEEE International Conference on Multimedia Computing and Systems (ICMCS'99), icmcs 1 (1999): 9562. David Bearman and Jennifer Trant, “Interactivity Comes of Age: Museums and the World Wide Web” Museum International 51 (no. 4, October-December 1999): 20–24. David Bearman and Jennifer Trant, “Museums and the Web ’99,” Bulletin of the American Society for Information Science (June-July 1999). Morten Hertzum, “A Review of Museum Web Sites: In Search of User-Generated Design,” Museum and Archives Informatics 12 (No. 2, June 1999). Jennifer Trant, “When All You’ve Got is the Real Thing: Museums and Authority in the Real World,” Archives and Museum Informatics 12 (No. 2, June 1999). Michel Hamel, “Enquête sur l’utilization du Web pour la diffusion des archives,” Archives 30 (No. 2, 1998-1999): 69.

16 Peter L. Walsh, p. 17

Morten Hertzum, “A Review of Museum Web Sites: The Next Step is User- Centred Design,” Museums of the Future Symposium, University of Limerick, Limerick, Ireland (June 1998). Douglas MacKenzie, Sandy Kydd, and Morvyn Myles, “Multiple Uses of Data in the Museum Environment,” Museums and the Web 1998 (Pittsburg, 1998). Ryna Elster Pantalony, “Managing and Identifying Museum Intellectual Property, Its Uses and Users,” Museums and the Web 1998 (Pittsburgh, 1998). Roland Jackson, et al, “Using the Web to Change the Relation Between a Museum and its Users,” Museums and the Web 1998 (Pittsburgh, 1998). Lynn Teather, “A Museum Is a Museum Is a Museum, or Is it?” Museums and the Web 1998 (Pittsburgh, 1998). Jennifer Trant, “Editorial: Museums and the Web,” Archives and Museum Informatics 11 (1997): 76. Kathleen Cohen, et al, “Digital Culture and the Practices of Art and Art History,” The Art Bulletin 79 (No. 2, June 1997): 187-216. Leila Kinney, “Review of Robert Baron, ed., The Great Image Debate,” CAA News (April 1997) Matthew Mirapaul, “Museums Re-Examine Sites, With Frames, and Without,” The New York Times electronic edition, March 13, 1997. Charles C. Mann, “Tales from Cyberbia: The Virtual Museum,” Boston Magazine, November 1995. Charles Trueheart, “Government and the Terms of Debate,” The Washington Post, January 15, 1991.

(Also unpublished academic papers, course syllabi, Masters and Ph.d. theses, and blogs)

Education and training:

Andover Newton Theological School: courses in Early Christian history, American Christian history, 2009-present. Harvard University: courses in marketing and management, 1986-1989; courses in Italian language, 1986-1989. Harvard University: courses in art history, European history, 1976-1985; Master’s degree in art history, 1985. Further courses in art history following the master’s to 1992. Harvard University: Graduate School of Design, courses in design and graphics, 1974-1975. Oberlin College: Bachelor’s degree in art history, design, 1973.

Professional classes, seminars, and conferences in public relations, institutional communications, marketing, design, museum education, grant writing, computer-assisted design, computer graphics and graphic applications, typography, print production, desktop publishing, HTML, the World Wide Web, and other computer application topics.

17 Peter L. Walsh, p. 18

Languages: French, Italian, reading knowledge of German, Latin, classical Greek. Computers: thorough knowledge of IBM, MS-DOS, Windows, and Macintosh; trained in desktop publishing, web design and management, graphics, word-processing, spread sheets, operating systems including Excel, Word, WordPerfect, PageMaker, PhotoShop, Adobe Illustrator, Adobe PhotoShop, html, various content management systems. Travel: extensive travel in the United States, France, Italy, Spain, and the Netherlands; additional travel in Austria, Canada, England, Germany, Switzerland.