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Getting museum and library archives digitized is one thing; uniting them on a platform that’s uniform and accessible is another. Last year the Digital Public Library of America (DPLA) launched in order to bring institutions like the New York Public Library, the Smithsonian, and numerous other partners together in a single online space. Last week, the Getty Research Institute announced that it was adding metadata for over 100,000 image and text records focused on art history to the DPLA.
Kathleen Salomon wrote at the Getty’s online magazine Iris:
The DPLA and the Getty share a commitment to making cultural materials ever more widely and freely available through technology. To make real the DPLA’s vision of “open and coherent access to our society’s digitized cultural heritage,” cultural institutions must actively digitize, catalogue, and publish their knowledge resources. But equally, they must make these resources readily accessible for myriad new uses.
The items, which date back to the 15th century, all come from the Getty Research Institute’s library and special collections, with a concentration on visual culture. While there are oddities, such as a miniature theater featuring hand-colored lithographic prints of a man’s journey to Egypt and China in the 19th century, what might be most valuable for researchers are lists like the ledgers of art dealers and painting inventories, as well as correspondence like Edouard Manet’s letters. There are also historic illustrated travelogues, including an 1830 sketchbook of Pompeii and a report on the arts and crafts of Jerusalem from 1918. Yet most stunning of all are the over 5,500 images from the late architectural photographer Julius Shulman’s archives, an integral record of modernist design and his influential visual eye.
The Getty Research Institute will continue to add more in the partnership, and also this month, the Medical Heritage Library and the US Government Printing Office contributed thousands of items to the DPLA. The collection’s ultimate worth will, of course, come from how these resources are used, but the DPLA is quickly becoming essential for the growing digitized archives.
View all of the Getty Research Institute’s visual history items on the Digital Public Library of America.
Editor’s Note: This endorsement is part of a special edition that Hyperallergic published on the ongoing legal case to return the photos of Renty and Delia Taylor to their descendants. * * * Your Honour — On April 11, 2018, The New York Times published a report on the differential outcomes for maternal and infant…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…