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October 20, 2004

Collaborative Agreement Reached Between Jonathan Bloom, Sheila Blair, Walter B. Denny and ARTstor

Professors Jonathan Bloom and Sheila Blair (Boston College), Professor Walter B. Denny (University of Massachusetts, Amherst) and ARTstor announced today that they had reached an agreement to collaborate on the distribution through ARTstor of up to 25,000 high quality digital images of the art and architecture of Islam from the personal archives of this team of leading scholar photographers.

Jonathan Bloom and Sheila Blair jointly hold the Norma Jean Calderwood University Professorship of Islamic and Asian Art. Jonathan Bloom’s primary areas of research include Islamic art and architecture, the history of paper, and art in the medieval Mediterranean world. Sheila Blair’s major areas of research are Islamic art, especially the arts of Iran and Central Asia, the art and architecture produced under the Mongols, calligraphy and books. In addition to specialized courses on various aspects of Islamic art and architecture ranging from the history of Jerusalem to the Silk Road, they team-teach a survey course on Islamic civilization. They are at work on an exhibition of Islamic ornament to be held in 2006 at the McMullen Museum at Boston College.

Walter B. Denny’s primary field of teaching and research is the art and architecture of the Islamic world, in particular the artistic traditions of the Ottoman Turks, Islamic carpets and textiles, and issues of economics and patronage in Islamic art. In addition to teaching a two-semester survey sequence on Islamic art and architecture, Professor Denny has taught a large undergraduate topical survey course, Introduction to the Visual Arts, every fall for more than three decades. His upper-level courses have focused on various aspects of Islamic and European art, including an historical survey of the art of the oriental carpet, and a course on orientalism in Western art.

In reaching this agreement, Walter B. Denny said, “This will be a marvelous opportunity to share a substantial portion of the over 140,000 images I have accumulated in my archive over 40 years. I anticipate that the availability of these resources through ARTstor will make it significantly easier for courses on Islamic art to be offered in institutions throughout the world.” James Shulman, Executive Director of ARTstor, commented: “The archives of our collaborators on this important project are renowned among Islamicists, and represent an enormous opportunity for ARTstor to provide wide-access to their unique archives. Sheila, Jonathan, and Walter know how difficult it is to build resources in their field, and we at ARTstor have great admiration for all that they have accomplished. We are thrilled that they want to join in our effort to make such resources widely available for the community of teachers, scholars, and students.”

ARTstor’s the three scholarly partners are long-standing colleagues and friends. They all contributed chapters to Islamic Art and Patronage, the catalogue accompanying a traveling exhibition of Islamic art from Kuwait collections. In the early 1990s they all worked together on the critically-acclaimed exhibition and catalogue, Images of Paradise in Islamic Art, which was also seen at museums around the country.

Jonathan Bloom and Sheila Blair have co-authored several books, including: Islam: A Thousand Years of Power and Faith (2000); Islamic Arts (1997); and The Art and Architecture of Islam: 1250-1800 (Yale University Press Pelican History of Art; 1994). Jonathan Bloom’s other major publications include: Paper Before Print: The History and Impact of Paper in the Islamic World (2001) (winner of the Charles Rufus Morey Award of the College Art Association); Early Islamic Art and Architecture (2002); and Minaret: Symbol of Islam (Oxford Studies in Islamic Art; 1989). He is currently at work on a book-length study of the art and architecture of North Africa and Egypt produced under the Fatimid dynasty between the tenth century and the twelfth.

Sheila Blair’s other major publications include ten books and more than 200 articles in journals, encyclopedias, colloquia and festschriften. Her books include: Islamic Inscriptions (1998) (winner of the British-Kuwait Friendship Society Book Prize for the best book on Middle Eastern studies published in Britain); A Compendium of Chronicles: Rashid al-Din’s Illustrated History of the World (The Nasser D. Khalili Collection of Islamic Art; 1995) (winner of the Bahari Prize for the best book on Persian civilization); and Islamic Calligraphy (due out next year from Edinburgh University Press).

Walter B. Denny’s recent publications include the books Gardens of Paradise: Ottoman Turkish Tiles of the 15th-17th Centuries (1998); Masterpieces of Anatolian Carpets from the Museum of Turkish and Islamic Arts, Istanbul (2001); Ipek: Imperial Ottoman Silks and Velvets (2002); and The Classical Tradition in Anatolian Carpets (2002). Iznik and the Ottoman Tradition is scheduled for publication in 2004 in Paris (Editions Citadelles et Mazenod). Other current projects include catalogues for two major collections of Islamic art, and a number of articles on Ottoman art and orientalism.

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September 1, 2004

National Gallery of Art and ARTstor Reach Collaborative Agreement

The National Gallery of Art (Washington, D.C.) and ARTstor announced today that they had reached an agreement to collaborate on the distribution through ARTstor of approximately 4,000 high quality digital images of French medieval architecture and approximately 3,000 images of American architecture from the Clarence Ward Archive.

The National Gallery of Art Library’s Department of Image Collections boasts unusually rich photographic archives. One of the most important and most heavily used collections is the Clarence Ward Archive, devoted mostly to French medieval (especially Gothic) and American architecture from Colonial times to the early 20th century. This archive is the product of focused photographic campaigns undertaken by Ward (1884-1973) who was a distinguished professor of art history at Oberlin College for many years. In conducting a series of photographic campaigns in the 1920s and 1930s, he enlisted Arthur Princehorn (1904-2001), staff photographer at Oberlin. The negatives produced by Ward and Princehorn are invaluable, both to medievalists and students of American architecture.

This project will digitize the ca. 7,000 Clarence Ward large format nitrate negatives, richly documenting Romanesque and Gothic architecture in France and selectively documenting American architecture from Colonial times through the early 20th century. These two landmark archives will greatly enrich ARTstor’s value to a wide audience in the history of art and architecture and related fields.

“The Clarence Ward archive of photographs of medieval buildings is an immensely important source for high quality images of Romanesque and Gothic architecture,” attests Caroline Bruzelius, A.M. Cogan Professor of Art History at Duke University. “To many students and scholars, these photographs will already be familiar from Jean Bony’s book on Gothic Architecture in France as well as other scholarly publications. Clarence Ward looked at, and photographed, buildings with the eye of an architectural historian, so that his pictures are especially valuable for the history of construction technique and architectural design. Moreover, a good proportion of the photographs were taken before the destruction wrought by World War II.”

In reaching this agreement, Neal Turtell, Executive Librarian, National Gallery of Art, expressed his enthusiasm in collaborating to use digital technologies to make these important scholarly resources more broadly available for noncommercial pedagogical and scholarly purposes. “The National Gallery of Art is excited to make the beautiful images from the Ward Archive more accessible to the academic community. It is a natural outgrowth of Paul Mellon’s commitment to excellence in art historical research,” commented Turtell. James Shulman, Executive Director of ARTstor, adds, “The Clarence Ward archive not only documents splendid works, but captures them in a splendid way. Working together with the National Gallery to make such a fragile and stunning collection available to scholars and teachers in a range of fields reminds us of the value of the resources that lay hidden in the world’s great photo archives. ARTstor is delighted to be able to play a part in making it available for scholarly and educational purposes.”

ARTstor was created in 2001 as an initiative of The Andrew W. Mellon Foundation, and is now an independent non-profit organization with a mission to use digital technology to enhance scholarship, teaching and learning in the arts and associated fields.

The Department of Image Collections of the Library at the National Gallery of Art is a study and research collection of images documenting European and American art and architecture. Established in 1943, the collection now contains almost 10 million black-and-white photographs, negatives, slides, and microform images of all aspects of Western art.

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June 1, 2004

ARTstor and AMICO Combine Efforts to Distribute Digital Images for Museums and Higher Education

The Art Museum Image Consortium (AMICO), a non-profit consortium of 39 museums, and ARTstor, a non-profit organization sponsored by The Andrew W. Mellon Foundation, announced today that AMICO will be phasing out its independent operations as it focuses on supporting ARTstor’s emerging leadership role in providing broad based access to what is expected to be the world’s largest single collection of online art images designed specifically for use by the education, research and arts communities. Both organizations expressed their belief that this important step will help museums, educational institutions, libraries, teachers, scholars, and students create and use this significant new community resource for the educational use of documented works of art. In phasing out its operations and endorsing ARTstor’s role, AMICO affirms to the museum and educational communities that ARTstor is well poised to carry forth and expand upon the mission that AMICO embarked on more than five years ago, when museum leaders recognized the vital need for an online library of high quality art images and associated data. While each museum that contributes content to AMICO will independently determine whether to make that content available through ARTstor, both AMICO and ARTstor expressed strong support for their continued sharing of their collections through ARTstor.

AMICO’s operations are scheduled to conclude in August 2005. Until then, it will continue to support the independent distributors of its image library as well as the needs of its museum membership and library subscribers. During this period, AMICO will also be sharing with ARTstor the experiences and knowledge gained over its years of operations as well as the software tools and standards for collection aggregation and distribution it has developed. AMICO and ARTstor expect that this will help ensure a smooth migration of AMICO museum image contributions to ARTstor for museums that choose to do so, as well as further bolster the confidence of AMICO subscribers that ARTstor is upholding the high standards for content that characterized the AMICO collection.

“The art museums that make up AMICO have achieved something extraordinary by having created a uniquely effective cooperative program for making digital art images available,” said Michael Conforti, Chairman of AMICO, and director of the Sterling and Francine Clark Art Institute in Williamstown, MA. “AMICO’s critical and path-breaking work will continue to be advanced into the future through ARTstor’s broad community-wide initiative,” Conforti added, “and we hope that as many museums as possible will see the advantages of and making their work available through ARTstor’s digital library.”

“I am certain that the opportunity for ARTstor to draw from AMICO’s strengths will allow ARTstor to build upon and extend the pioneering achievements of AMICO in order to create a valuable resource for education in fields that draw upon the visual arts,” stated Neil L. Rudenstine, former president of Harvard and Chairman of the ARTstor board.

Founded in 1996, the Art Museum Image Consortium (AMICO) is a not-for-profit consortium of institutions nationwide that have been collaborating to enable educational use of museum collection images and multimedia. With a library that numbers over 140,000 images, AMICO began as the vision of Maxwell L. Anderson, former director of the Whitney Museum and past President of the Association of Art Museum Directors, with a goal of providing educational institutions that license the AMICO Library with access to museum multimedia for educational use.

Anderson commented, “AMICO is today poised to hand off to ARTstor an unparalleled range of experience in making rich multimedia broadly available to educational users. All of us associated with AMICO are extremely hopeful about ARTstor’s future under the leadership of its Chairman Neil Rudenstine and its Executive Director James Shulman. Their commitment, together with the Mellon Foundation’s peerless advocacy of art museums and higher education, will yield great progress in making illustrated art collections widely accessible in the years ahead.”

“We have enormous admiration for Max Anderson’s original and bold vision,” said James Shulman, executive director of ARTstor, “and the way he and the AMICO staff transformed that vision into a reality. Their collective talent and the Herculean efforts of the staff at the member museums have shown the enormous community-wide benefits of collaboration.”

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May 14, 2004

Collaborative Agreement Reached Between the W. E. B. Du Bois Institute for African and African American Research (Harvard University) and ARTstor

The W. E. B. Du Bois Institute for African and African American Research (Harvard University) and ARTstor Inc. announced today that they had reached an agreement to collaborate on the distribution through ARTstor of approximately 30,000 high quality digital images from the Du Bois Institute’s Image of the Black in Western Art Research Project and Photo Archive. Spanning nearly 5,000 years and documenting virtually all artistic media, the Image of the Black in Western Art Research Project and Photo Archive is an unprecedented research initiative devoted to the systematic investigation of how people of African descent have been perceived and represented in art.

Started in 1960 by Jean and Dominique de Ménil in reaction to the continuing existence of segregation in the United States, the Archive contains photographs of nearly 30,000 works of art, each one of which is extensively documented by the Archive’s staff. For the first thirty years of the project’s existence, it focused on the production of a prize-winning, four-volume series of generously illustrated books, The Image of the Black in Western Art. Since moving to Harvard University in 1994, the project has focused on production of the final volume of The Image of the Black in Western Art and expanding access to the Archive itself.

This collaboration between ARTstor and the Du Bois Institute will make this rich body of visual material and related scholarship available electronically for the first time. The audience for these materials will include not only art historians but also scholars, teachers, and students throughout the humanities and social sciences, who will value having the ability to access, browse, and make rich educational and scholarly uses of this unique corpus of images. In reaching this agreement, Henry Louis Gates, Jr., and James Shulman, Executive Director of ARTstor, expressed their enthusiasm in collaborating to use digital technologies to make this important scholarly resource more broadly available for noncommercial pedagogical and scholarly purposes. “The Image of the Black Archive has been known too little for too long,” said Professor Gates, the W. E. B. Du Bois Professor of the Humanities, Chair of the Department of African and African American Studies, and Director of the W. E. B. Du Bois Institute for African and African American Research, Harvard University. “We at the Du Bois Institute are delighted to work with ARTstor to make this essential archive more widely available to scholars and students in the arts, humanities, and social sciences.” James Shulman adds, “The Image of the Black Archive contains thousands of images that could not be made available in the splendid published volumes devoted to this important subject. This research project embodies an unusually thoughtful approach to interdisciplinary visual research. This collaboration should therefore produce an exceptionally significant resource for scholars, teachers and students in a wide range of fields. ARTstor is delighted to be able to play a part in making it available for scholarly and educational purposes.”

The W. E. B. Du Bois Institute for African and African American Research is the nation’s oldest research Institute dedicated to the study of the history, culture, and social institutions of African Americans. Founded in 1975, the Institute serves as the site for research projects, fellowships for emerging and established scholars, publications, conferences, and working groups. Named after the first African American to receive a Ph.D. from Harvard University (1896), the Institute also sponsors four major lecture series each year, and serves as the co-sponsor for numerous public conferences, lectures, readings, and forums.

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April 12, 2004

ARTstor Announces Availability Of Digital Image Resource

Initiative Sponsored by The Andrew W. Mellon Foundation to Serve Educational and Cultural Communities

April 12, 2004. ARTstor, a non-profit initiative founded by The Andrew W. Mellon Foundation, announces the availability of its Digital Library to non-profit educational and cultural institutions in the United States starting this summer.

The ARTstor Digital Library is comprised of digital images and related data; the tools to make active use of those images; and an online environment intended to balance the interests of users with those of content providers. ARTstor’s “Charter Collection” will contain approximately 300,000 digital images of visual material from different cultures and disciplines, and it seeks to offer sufficient breadth and depth to support a wide range of non-commercial educational and scholarly activities. The Charter Collection is anticipated to grow to half a million images by the summer of 2006.

ARTstor was established with a mission to use digital technology to enhance scholarship, teaching and learning in the arts and associated fields. James Shulman, the Executive Director of ARTstor, noted that “The impact of digitization on teaching and scholarship becomes increasingly clear every day. ARTstor is working with museums, colleges, universities, libraries, archives and others around the world in an effort to ensure that these dramatic changes happen in thoughtful ways. We are excited by the chance to play a role in a community-wide effort that represents many aspects of the world’s collective cultural heritage.”

According to Neil L. Rudenstine, ARTstor’s chairman and president emeritus of Harvard University, “The growing need for an accessible source of digital images has become a significant problem at many educational institutions that are using limited resources to build and sustain their own image archives. ARTstor hopes to help address this need by working with institutions to build a digital collection capable of both system-wide growth and expansion at individual institutions, so that participants will have significantly more material for educational and scholarly uses.”

The Charter Collection is meant to serve as a campus-wide resource that is focused on, but not limited to, the arts. It documents artistic and historical traditions across many time-periods and cultures and has been derived from several source collections that are themselves the product of collaborations with libraries, museums, photographic archives, publishers, slide libraries, and individual scholars. Source collections include:

The Image Gallery: A collection of 200,000 images of world art and culture corresponding to the contents of a university slide library, constructed in response to college teaching needs. Since the images have been cataloged with subject headings, they will be useful both to those in the arts and in many other fields;

The Carnegie Arts of the United States
: A widely used collection of images documenting aspects of the history of American art, architecture, visual and material culture;

The Huntington Archive of Asian Art: A broad photographic overview of the art of Asia from 3000 B.C. through the present;

The Illustrated Bartsch: A collection derived from the art reference publication of the same name, containing images and data related to more than 50,000 old master European prints from the 15th to 19th Centuries;

The Mellon International Dunhuang Archive
: High resolution images of wall paintings and sculpture from the Buddhist cave shrines in Dunhuang, China, along with related objects and art from the caves that are now in museums and libraries in Europe and the United States; and

The MoMA Architecture and Design Collection
: A comprehensive collection of high resolution images representing the holdings of the Department of Architecture and Design of The Museum of Modern Art (MoMA) in New York.

ARTstor has developed software tools that will allow users at participating institutions to use its Charter Collection without the need for any other software. Users will be able to view and analyze images through features such as zooming and panning. They will be able to save groups of images for personal or group uses, as well as for use in lectures and other presentation, either online or off-line.

Participation fees for ARTstor’s Charter Collection are listed now at Participating in ARTstor. Thirty-five test institutions have had access to the software and image repository during the past academic year, including: the Art Institute of Chicago, Harvard University, Hunter College, James Madison University, Johns Hopkins University, the Metropolitan Museum of Art, the National Gallery of Art, New York University, Pennsylvania State University, Princeton University, Sarah Lawrence College, Smith College, University of California at San Diego, Williams College and the Sterling & Francine Clark Art Institute.

As William G. Bowen, the President of the Mellon Foundation, noted: “The fit between new technology and visual images is an unusually promising one. The ability to combine – and make active use of – images, data, texts and other materials offers the opportunity to bring about a substantial and exciting transformation in art-related teaching, learning, and research.”

For more information about participating in ARTstor, please see the Participation Info section of the ARTstor website.

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April 2, 2004

Collaborative Agreement Reached Between the National Anthropological Archives (National Museum of Natural History, Smithsonian Institution) and ARTstor

The National Anthropological Archives (National Museum of Natural History, Smithsonian Institution) and ARTstor announced today that they had reached an agreement to collaborate on the distribution through ARTstor of approximately 12,000 high quality digital images of Native American art and culture from the NAA collections.

The collaboration will focus on two of the NAA’s most important archival collections, which it has already digitized at high resolution for preservation and access reasons: an archive of ca. 2,000 Plains Indian ledger drawings and a collection of ca. 10,000 historic photographs of Native American subjects (portraits, scenes, etc.), made from glass plate negatives collected by or produced under the auspices of the Smithsonian’s Bureau of American Ethnology beginning in the late 19th century. Plains Indian ledger drawings, mostly produced in the middle to late decades of the 19th century, represent an important indigenous artistic tradition of great and increasing interest to art historians and other scholars. These drawings on paper, often done on the pages of ruled ledger books acquired through trade, continue a long tradition of painting on buffalo hides and other available media.

The BAE photographic collections, supported by extensive documentation, are a foundation for our visual knowledge of the American Indian past. They were critical in shaping perceptions of Native Americans in the last quarter of the 19th century and thereafter and they constitute an unparalleled visual record of historic Native American art and culture. The approximately 10,000 historic photographs to be distributed through this collaboration range from studio portraits of individual Native Americans to tribal scenes, documenting treaty councils, official expeditions of exploration, and early anthropological and archeological inquiry in America. All major tribal groups are represented, many having been photographed during formal meetings of tribal delegations with members of Congress. These two landmark archives will greatly enrich ARTstor’s value to a wide audience in the history of art and beyond.

Under the agreement, ARTstor is supporting the post-processing of these 12,000 already digitized high-resolution images for inclusion in the ARTstor Library, a database of digital images of art and cataloging data that is being assembled for noncommercial, educational, and scholarly purposes. ARTstor is also supporting a variety of related cataloging activities that will enhance the value of these materials to scholars. The National Anthropological Archives will also retain a set of the processed digital images, and will continue to make these images available in lower resolutions through the Smithsonian Institution’s online public access catalog (SIRIS).

In reaching this agreement, Robert Leopold, Archives and Collections Information Manager at the National Anthropological Archives, and James Shulman, Executive Director of ARTstor, expressed their enthusiasm in collaborating to use digital technologies to make these important scholarly resources more broadly available for noncommercial pedagogical and scholarly purposes. “The National Anthropological Archives is delighted to make its existing high-resolution digital images available in a secure, online environment that promotes the use of authentic, well-documented historical images for research, lectures and classroom presentations,” commented Leopold.

The National Anthropological Archives collects and preserves historical and contemporary anthropological materials that document the world’s cultures and the history of anthropology.

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April 1, 2004

ARTstor Testing: Preliminary Findings

During the 2003-2004 academic year, over thirty colleges, universities and museums have been participating in ARTstor’s “test” phase. The goal of ARTstor testing was to assess our progress in building the ARTstor image collections and software tools. Our institutional test partners – fourteen in the fall semester of 2003, and over thirty-five in the spring of 2004 – were invited to participate on the basis of a range of considerations, but mostly because of their ability and willingness to bring diverse perspectives to bear on key aspects of ARTstor’s development. Users at these test institutions have had continuous access to ARTstor for use in teaching and scholarship. Institutional staff — including librarians, visual resources professionals, and instructional and information technology staff — have been working closely with ARTstor to assess the testing experience. We are grateful to all these individuals for their willingness to help understand their varied interests and needs, and to provide useful guidance for improving all aspects of ARTstor. A full list of our test partners is at the bottom of this page.

What follows is a brief interim report of the results of this testing. When the test phase is completed, we will update these findings and post them on the website.

Technology
Technology is an important aspect of any digital library delivery system, and the test findings led us to improve the functionality, usability, and performance of ARTstor’s technology and software. We experienced problems launching the software in some Macintosh environments. As of April, the system works on the OS10 operating system, and we anticipate that the difficulties we experienced with the earlier OS9 system will be resolved by June. We have also developed several approaches to “interoperating” with institutional digital collections and software (e.g., image management systems, learning management courseware, and other digital resources). To facilitate access for our participating institutions, we are now pursuing several approaches to authentication and authorization of end users. Most importantly, testing confirmed our belief that it is essential that ARTstor develop software that is tailored to the considerable variety of needs of its different users. Because we have chosen to build our own software rather than work only with existing software products, we believe that we have been better able to improve and adjust that software to reflect user comments and criticisms in a timely manner.

Feedback during testing also suggested that we build additional user-friendly tools to expand the possible uses of ARTstor’s content. In one specific example, our testers assisted us in designing an off-line viewer that allows the use of ARTstor content in the classroom, with no reliance on Internet connectivity. This off-line viewer was created in response to tester concerns about relying on a network connection to present images in class and by the widespread need to make presentations (in a classroom or elsewhere) without connecting to the Internet. We are very grateful to James Madison University for its generosity in allowing ARTstor to build from their code in their widely adopted MDID viewer to create the initial ARTstor Offline Viewer.

Finally, because ARTstor is hosted, launched and distributed in a way that enables users to work in an active software environment (i.e., dragging and dropping images from one saved group to another), testing allowed us to see how we needed to enhance our technological infrastructure. We improved server capacity and the load-balancing system, and also reconfigured the application server to enhance speed and performance.

Usability Testing
This fall, the Digital Knowledge Center (DKC) at Johns Hopkins University worked closely with ARTstor on usability testing, including conducting one-on-one tests with users at many of the test institutions. Because of the forty-two ARTstor usability tests, and the detailed findings that the DKC reported as a result, we learned about specific barriers, which we were able to remove or ameliorate. The majority of this work will be completed prior to ARTstor’s launch this summer.

Users
During the testing phase, we learned a great deal about the various needs of potential ARTstor users – especially about the range of potential users. While we believe it is clear that ARTstor provides value to individuals studying Art History and related fields, it also hopes to meet the broader need for a campus-wide image resource that is accessible to scholars, teachers and students across the humanities and beyond. We are also encouraged by the fact that our test phase indicated that ARTstor’s software provides the right tools for most users of digital images and is sufficiently user-friendly to enable individuals who are relatively new to digital technologies to feel comfortable using ARTstor.

Content
Feedback also indicated that the ARTstor Charter Collection is broad enough to engage a reasonably wide audience, and to support a good range of teaching needs, as well as deep enough in some areas to support aspects of scholarly research. ARTstor continues to seek new collections to provide greater breadth as well as the depth that scholars will require. One of ARTstor’s greatest challenges in building collections is balancing the need to add a great many more images with the desire to maintain appropriately high standards of image and data quality. Various users at different test institutions championed both “sides” of this equation – some calling for more images even at lower quality and others preferring that we include only the highest quality images in ARTstor. We do not believe there is one “right” path in this area; meanwhile, we are encouraged by the fact that so many users have urged us to strike a sensible balance, and to retain our core commitment to enhancing the quality of images and data over time.

ARTstor Licensing Agreement
Licensing digital content — especially images of art — is extremely complicated. Balancing intellectual property requirements with the educational and research needs of the non-profit educational community is a challenge. Based on concerns expressed by some of the fourteen initial test institutions, we made some significant revisions to our user agreements. We held a productive half-day meeting in December 2003 with user agreement representatives from our Fall test institutions in an effort to solve common issues. The final outcome, we believe, is an agreement that balances the needs and interests of ARTstor users, of their respective institutions, and of the many institutions that help ARTstor to build its collections. The vast majority of our new test institutions signed the revised agreement with scarcely any comments or questions. Given ARTstor’s strong commitment to work with all non-profit educational institutions in order to foster the use of digital media in teaching and learning, we regard the general acceptability of this new user agreement as a very important outcome of ARTstor testing.

What ARTstor Offers
We have deliberately designed ARTstor in a way that differs in many ways from other online information resources. ARTstor is relatively unusual in providing three separate but integrated components. First, it consists of a very large and constantly growing online database of searchable images and accompanying conformation. Second, it has embedded the database in a software “tool-kit” that enables the user to search and make active use of the collections. Finally, ARTstor also provides a restricted environment through its own network that is accessible only to members of non-profit institutions. By providing a restricted network (not accessible publicly through the open internet) and by seeking to balance the interests of content providers and users, we believe that ARTstor can play an important role in working through these complex intellectual property issues in a way that individual institutions – on their own- might find extremely difficult to accomplish.

These three inter-related components and services make ARTstor very different from a straightforward online digital database purchased by a library. During the testing period, we have begun to learn about ARTstor’s “spillover” effects, including how the availability of such a resource encourages certain forms of inter-disciplinary work and begins to help with a very powerful integration of the critical related process of teaching, learning, and research.

While we have only begun to observe and assess the impact that ARTstor will have for users, we also should note how the testing period has been instructive with regard to the collaborations that have been explored and have begun to flourish across organizational boundaries; librarians, visual resources professionals, and instructional and information technology staff have come together to support the use of ARTstor. While ARTstor “lands” in the library, we will be interested to see if – or how – the broad applicability of ARTstor will be a catalyst for new organizational collaborations.

Conclusion
The preliminary findings from this test phase have taught us many important lessons – about almost every aspect of ARTstor. Most of the improvements we have made would not have been possible without the commitment of our testing partners, to whom we are very grateful. We believe that the contributions of all these partners – as well as the professional relationships we have been created or built upon through this process – will make ARTstor a much stronger and more useful resource for all its users.

ARTstor’s Test Partners

  • Art Institute of Chicago
  • Bowling Green State University
  • Bryn Mawr College
  • Carleton College
  • Columbia University
  • Connecticut College
  • Dallas Museum of Art
  • Emory University
  • Getty Research Institute
  • Harvard University
  • Hunter College
  • James Madison University
  • Johns Hopkins University
  • Los Angeles County Museum of Art
  • Metropolitan Museum of Art
  • Minneapolis College of Art and Design
  • National Gallery of Art
  • New York University
  • Northwestern University
  • Ohio State University – Main Campus
  • Pennsylvania State University
  • Perpich Center for Arts Education
  • Princeton University
  • Roger Williams University
  • Sarah Lawrence College
  • Smith College
  • Smithsonian American Art Museum
  • Trinity University
  • University of California – San Diego
  • University of Miami
  • University of Michigan – Ann Arbor
  • University of Oregon
  • University of Notre Dame
  • University of Virginia
  • Walters Art Museum
  • Wesleyan University
  • William Paterson University of New Jersey
  • Williams College, Sterling & Francine Clark Art Institute

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January 27, 2004

ARTstor Announces Two New Board Members

The ARTstor Board of Trustees announced the appointment of two new members: Michele Tolela Myers, president of Sarah Lawrence College and Kwame Anthony Appiah, the Laurance S. Rockefeller University Professor of Philosophy and the University Center for Human Values at Princeton University.

Michele Tolela Myers has served as president of Sarah Lawrence College since 1998. Previously, Dr. Myers served as president of Denison University for nine years where she improved the university’s academic programs and standing. Denison’s endowment more than tripled under her leadership and she presided over the construction of major new buildings. In 1996, Dr. Myers received the Knight Foundation Presidential Leadership award, given for the first time that year to presidents of liberal arts colleges. Dr. Myers served as chair of the board of the American Council on Education from 1997-98, and is currently a board member of JSTOR and a member of the Board of Directors of the Sherman Fairchild Foundation. She is a past director of the Federal Reserve Bank of Cleveland, past director of the National Association of Independent Colleges and Universities, past chair of the Five Ohio Colleges Consortium and past member of the President’s Commission, National Collegiate Athletic Association. Dr. Myers earned a diploma in political science and economics from the Institute of Political Studies at the University of Paris, and a Ph.D. in Communication Studies at the University of Denver.

Kwame Anthony Appiah joined the faculty at Princeton University in 2002, where his professional interests have included philosophy of the mind and language, African and African-American intellectual history, and political philosophy. Before his tenure at Princeton, Dr. Appiah was the Charles H. Carswell Professor of Afro-American Studies and of Philosophy at Harvard University, where he was a professor for 11 years, after holding faculty positions at Duke, Cornell and Yale Universities. His writings include numerous scholarly books, essays and articles along with reviews, short fiction, three novels and a volume of poetry. Along with Princeton provost Amy Gutmann, Dr. Appiah wrote “Color Conscious: The Political Morality of Race” (Princeton University Press, 1996), which won the Annual Book Award of the North American Society for Social Philosophy, the Ralph J. Bunche Award of the American Political Science Association and which was named an Outstanding Book by the Gustavus Myers Center for the Study of Human Rights in North America. His book, “In My Father’s House: Africa in the Philosophy of Culture” (Oxford University Press, 1992), was honored by the African Studies Association and the Modern Language Association.

Dr. Appiah also is co-author, with Harvard University Professor Henry Louis Gates, Jr., of the 3,000-article “Africana: The Encyclopedia of the African and African American Experience.” His most recent projects include a second set of Tanner Lectures on Human Values. He has also been a trustee for the National Humanities Center since 1999. Dr. Appiah received his bachelor’s, master’s and doctoral degrees from Clare College, Cambridge University.

“President Myers and Professor Appiah will – between them – add exceptional new talent to the Board of ARTstor. Each has a broad intellectual reach, including several fields of knowledge that are especially important to ARTstor. In addition, each has strong international experience – from England, France and Africa. On behalf of ARTstor’s entire Board, I welcome them warmly, and very much look forward to working with them,” commented Neil L. Rudenstine, Chairman of the ARTstor Board.

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January 12, 2004

Collaborative Agreement Reached Between Hartill Art Associates, Inc., ARTstor and the California Digital Library

Alec Hartill of Hartill Art Associates, Inc., ARTstor and the California Digital Library announced today that they had reached an agreement to collaborate on the archiving, digitization and distribution of approximately 20,000 high quality slides, created by both Alec and Marlene Hartill of Hartill Art Associates, Inc. over the past 26 years. The images reproduce architecture and the built environment from antiquity to the present, and include thousands of details of architectural sculpture, mosaics and stained glass. Under the agreement, the California Digital Library has purchased an archival set of the slides, which will be housed at one or more University of California campus libraries and made available for noncommercial educational and scholarly purposes. ARTstor is digitizing those slides, and the digital images will be incorporated into noncommercial educational resources supported, respectively, by ARTstor and the University of California.

In reaching this agreement, Alec Hartill, ARTstor, and the California Digital Library expressed their enthusiasm in collaborating to preserve this important educational resource and in using digital technologies to make it more broadly available for noncommercial pedagogical and scholarly purposes.

ARTstor was created in 2001 as a nonprofit initiative of The Andrew W. Mellon Foundation, and is now an independent non-profit that seeks to make available a digital library of art images for noncommercial educational and scholarly uses. Alec Hartill will continue to license and sell sets of his slides and will license the digital images for noncommercial and commercial purposes.

The California Digital Library partners with the 10 UC campuses in a continuing commitment to apply innovative technology to managing scholarly information. Organizationally housed at the UC Office of the President in Oakland, CA, the CDL provides a centralized framework to efficiently share materials held by UC, to provide greater and easier access to digital content, and to join with researchers in developing new tools and innovations for scholarly communication.

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