Art Documentation in the Information Age: Changing Models of Access and Use

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Notes

1 Roger C. Schonfeld and Matthew P. Long, Supporting the Changing Research Practices of Art Historians. (New York: Ithaka S+R, 2014), http://sr.ithaka.org/?p=22833.

2 For more information, see: Murtha Baca, “Open Content: A Concept Whose Time Has Come,” Visual Resources 30 (March 2014): 1-4.

3 For more information, see http://www.getty.edu/research/scholars/digital_art_history/getty_scholars_workspace/index.html (Accessed February 2016)

4 Getty Provenance Index® Dealer Stock Books database: http://piprod.getty.edu/starweb/stockbooks/servlet.starweb?path=stockbooks/stockbooks.web (Accessed February 2016).

5 An early ground-breaking example of this new kind of scholarship is Pamela Fletcher and Anne Helmreich's article on mapping London's art market in the nineteenth-century, see: Pamela Fletcher and Anne Helmreich, “Local/Global: Mapping Nineteenth-Century London's Art Market,” Nineteenth Century Art Worldwide 11 (Autumn 2012), http://www.19thc-artworldwide.org/autumn12/fletcher-helmreich-mapping-the-london-art-market (Accessed February 2016).

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Notes on contributors

Melissa Gill

MELISSA GILL holds a Master in Library and Information Science from the University of Washington, where she is also finishing her Master in Art History. Gill is currently the Digital Projects Manager for the Digital Art History group at the Getty Research Institute (GRI) in Los Angeles.