Lightning Talks

Murtha Baca is head of the Digital Art History Program at the Getty Research Institute (GRI) in Los Angeles, and an adjunct professor in the Department of Information Studies at UCLA.  She holds a PhD in Art History and Italian Language and Literature from UCLA.

Susan Edwards is a former art historian (ABD, U. Michigan) who has worked at the J. Paul Getty Trust for 11 years as a content producer, editor, and writer for all things technology. Most of her work has focused on educational technology for K-12 audiences and kids, including several digital games. For the past three years, she has been working with Murtha Baca at the Getty Research Institute to create an online collaboration tool for art history scholars. She is currently pursuing an MLIS at San Jose State University.

“Challenges in Building a Collaborative Digital Environment for Research and Publication: The Getty Scholars’ Workspace.”
Project description
Blog post by Susan Edwards


Bernard Frischer authored, or co-authored, six books and many articles on virtual heritage and on the Classical world and its survival. He received his B.A. in Classics summa cum laude from Wesleyan University in 1971 and his Ph.D. in Classics summa cum laude from the University of Heidelberg in 1975. He taught Classics at UCLA from 1976 to 2004. He is Professor of Art History and Classics at the University of Virginia, where he also serves as Director of the Virtual World Heritage Laboratory. He has taught at the University of Pennsylvania (1993), the University of Bologna (1994), and held the post of Professor-in-Charge of the Intercollegiate Center for Classical Studies in Rome (2000-01). From 1996 to 2003 he directed the excavations of Horace’s Villa sponsored by the American Academy in Rome, and from 1996 to 2004 he was founding director of the UCLA Cultural Virtual Reality Laboratory. Dr. Frischer has overseen many significant modeling projects, including “Rome Reborn,” the virtual recreation of the entire city of ancient Rome within the Aurelian Walls. In 2005 he was given the Pioneer Award of the International Society for Virtual Systems and Multimedia.

“Four Dimensions of 3D Technology in Art History and Archaeology”
The Digital Hadrian’s Villa Project


Mark Phillipson is the Interim Director of Columbia University’s Graduate School of Art and Sciences Teaching Center. He holds a BA from Columbia University, an MLIS from Simmons College, and a PhD in English from the University of California, Berkeley. He has led numerous CCNMTL projects — such as Havel at Columbia, Mapping the African American Past, Project Vietnam (in partnership with WGBH’s Media Library and Archives), and the Digital Bridges Initiative ( ). 

Adrienne Garber is an educational technologist at CCNMTL focusing on digital media applications for teaching and learning. Her academic areas of interest include multimedia learning, gesture-based computing, and human computer interaction, as applied in corporate training and professional education. She holds a B.S. from Lehigh University, an M.S. from Carnegie Mellon University, a J.D./M.B.A from Duquesne University, and an Ed.M. from Teachers College, Columbia University.

Mediathread is Columbia Center for New Media Teaching and Learning (CCNMTL) next-generation platform for deep exploration, close analysis, and individual organization of web-based multimedia content. It is a multi-faceted analysis environment that enabling users to browse media collections in their native environments and, with a click of a button, import items to Mediathread for analysis.


Paul B. Jaskot is professor of art history at DePaul University and the Autrey Visiting Scholar at Rice University’s Humanities Research Center (Spring 2013). His research focuses on the political history of art and architecture of Nazi Germany as well as topics in Marxism and art history. He is the author of The Architecture of Oppression: The SS, Forced Labor and the Nazi Monumental Building Economy as well as, most recently, The Nazi Perpetrator: Postwar German Art and the Politics of the Right. He has also been involved since 2007 in the Holocaust Geography collaborative, which brings together GIS specialists, geographers, historians and art historians to explore the potential for using digital tools and dynamic mapping for analyzing the spaces, places and built environments of the Holocaust. The collaborative’s initial findings were funded by the National Science Foundation and will be published in an anthology in the coming year by Indiana University Press. In addition to his scholarship and teaching, Jaskot was also President of the College Art Association (2008-2010) and the co-founder of the Radical Art Caucus.

“Digital Visualizations as Art Historical Research: The Question of Scale” 
The Spatial History Project: Holocaust Geographies


Lev Manovich is the author of Software Takes Command (Bloomsbury Academic, 2013), Soft Cinema: Navigating the Database (The MIT Press, 2005), and The Language of New Media (The MIT Press, 2001) which is described as “the most suggestive and broad ranging media history since Marshall McLuhan.” Manovich is a Professor at CUNY Graduate Center, a Director of the Software Studies Initiative, and a Visiting Professor at European Graduate School (EGS).

“Art history and Big Data: Visualizing Massive Image Collections”
The projects done at Software Studies Initiative are explorations in the growing field of digital humanities. The lab is developing theory and methods for the analysis of massive sets of images and video (cultural analytics).


Stephen Murray was educated at Oxford and the Courtauld Institute of Art,
University of London. He has taught at Indiana University (where he was director
of the School of Fine Arts), Harvard and (since 1986) Columbia University. His
publications include books on the cathedrals of Amiens, Beauvais and Troyes
as well as medieval preaching. In 1993 he established the Media Center for Art
History at Columbia. His field of teaching includes Romanesque and Gothic art,
particularly involving the integrated understanding of art and architecture within a  broader framework of economic and cultural history. His current work is on story-telling: Narrating Gothic: The Cathedral Plot. He is also engaged in work on an ambitious interactive database of French cathedrals.

“Mapping Gothic France”


Beth Harris is dean of Art and History at the Khan Academy. Before joining the Khan Academy, she was the first person to hold the position of Director of Digital Learning at The Museum of Modern Art, where she started MoMA Courses Online. She also co-produced educational videos, websites and apps. Before joining MoMA, Beth was Associate Professor and Director of Distance Learning at the Fashion Institute of Technology where she taught both online and in the classroom. Her scholarly work includes editing and contributing to Famine and Fashion: Needlewomen in the Nineteenth Century (Ashgate, 2005), many book reviews, and “The Slide Library: A Posthumous Assessment in the Service of Our Digital Future,” in Teaching Art History with Technology: Case Studies (2008). She received her Master’s degree from the Courtauld Institute of Art in London, and her Doctorate in Art History from the Graduate Center of the City University of New York.

Steven Zucker is dean of Art and History at the Khan Academy. Previously, he was chair of History of Art and Design at Pratt Institute where he strengthened enrollment and lead the renewal of curriculum across the Institute. Before that, he was dean of the School of Graduate Studies at the Fashion Institute of Technology, SUNY as well as chair of their art history department. He has taught at The School of Visual Arts, Hunter College, and at The Museum of Modern Art. Dr. Zucker is a recipient of the SUNY Chancellor’s Award for Excellence in Teaching. Together with Beth, Steven wrote “The Image Library as Learning Environment” for CAA News and “The Slide Library: A Posthumous Assessment in the Service of Our Digital Future,” Teaching Art History with Technology: Case Studies (2008). He has published on Abstract Expressionism including his essay “Confrontations with Radical Evil: The Ambiguity of Myth and the Inadequacy of Representation,” in Art History. Dr. Zucker received his Ph.D. from the Graduate Center of the City University of New York.

“Open Education & Art History”

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