Matthews Gallery

Yellow Milkmaid Syndrome: paintings with identity problems by Joris Pekel for Europeana

"The Yellow Milkmaid Syndrome makes quite clear that where a cultural institution does not publish their digital collection, or very low quality reproductions, other versions can probably be found online anyway. In this scenario the institution has absolutely no control what the image looks like, the quality of the images shared, or which versions are being used."

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There’s also a fab Tumblr dedicated to victims of the Yellow Milkmaid Syndrome.

So, what does this painting actually look like? The web is a great resource for art history lovers, but it has created some new obstacles too... 

More art musings. 

There are only a couple open access, online art history journals, but they are limited in scope. ArtHistory.us aims to add to their numbers.  Our field can move past print publication bias, and slowly but surely, it will.

Be a force of change by submitting an article to ArtHistory.us. Let’s create a new kind of journal for an emerging type of art history.

(via caravaggista)

Art history and the digital world. 

Charlotte Moorman in Nam June Paik’s Concerto for TV Cello and Videotapes, 1971 [photo: Peter Moore]

Via the Walker Art Center’s wonderful-looking new project On Performativity, on which our friend Liz Glass (a.k.a gesamtkunstwords) has been working for the last year. It includes writing by people we like: Dorothea von Hantelmann, Philip Auslander, Shannon Jackson, Irene Small and others.

This looks amazing! 

Some interesting points in this long article about when the heck we’ll stop referring to digital art as such and just start calling it art. Putting our tools into context and making some good comparisons to art history.

http://aeon.co/magazine/altered-states/digital-art-should-be-about-possibilities-not-technicalities/