See also Computer Vision & Electronic Imaging, Virtual Heritage; Virtual touch; Selected activities in the area of Digital Art History

[A] article; [CH] chapter; [CP] conference paper; [ED] editorial work; [PhD] Ph.D. thesis; [RP] report; [SN] speaker’s notes; [S] survey.


[ED] Computers and the History of Art, vol. 5.


[A] ‘Debating Digital Art History’, International Journal for Digital Art History, 1 (2015), pp. 5–65 (print and online).


[A] Boochs, F., Bentkowska-Kafel, A., Degringy, C. et al., ‘Colour and Space in Cultural Heritage: Interdisciplinary Approaches to Documentation of Material Culture’, International Journal of Heritage in the Digital Era, Vol. 3, No. 4, 2014, pp. 713-730.

[CP] Frank Boochs, Anna Bentkowska-Kafel, Christian Degrigny et al, Colour and Space in Cultural Heritage: Key Questions in 3D Optical Documentation of Material Culture for Conservation, Study and Preservation, Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection, Proceedings of the 5th International Conference, EuroMed 2014, Limassol, Cyprus, November 3-8, 2014. Lecture Notes in Computer Science Volume 8740, Eds. M. Ioannides, N. Magnenat-Thalmann, E. Fink et al, Springer International Publishing, 2014, pp. 11-24.
DOI 10.1007/978-3-319-13695-0_2. A EuroMed 2014 Werner Weber Award

[CP] Frank Boochs, Anna Bentkowska-Kafel, Christian Degringy et al., Towards Optimal Spectral and Spatial Documentation of Cultural Heritage. COSCH – An Interdisciplinary Action in the COST framework, International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Vol. XL-5/W2, 2013. Presented at the XXIV International CIPA Symposium, 2–6 September 2013, Strasbourg, France.


[SN] Mapping Digital Art History. The missing chapter, A PDF of a presentation given to the Digital Art History Laboratory, The Getty Research Institute, CA, 5-8 March 2013. See DAH Lab programme.


[ED] Digital Visual Culture: Theory and Practice, co-edited with Trish Cashen and Hazel Gardiner, Computers and the History of Art (CHArt) Yearbook, vol. 3, Intellect, 2009. Available through CHArt and as an e-book

Contributors: Karen Cham, Elaine Shemilt, Ann-Sophie Lehmann, Elizabeth Coulter-Smith, Graham Coulter-Smith, Ralf Nuhn, Maria Chatzichristodoulou, Hamid van Koten, Dew Harrison, Anne Laforet.

Digital creativity is boundless. Art practitioners and scholars continue to explore what technology has to offer and practice-based research is redefining their disciplines. What happens when an artist experiments with bio-scientific data and discovers something the scientists failed to notice? How do virtual telematic environments affect our relationship with the object and our understanding of identity and presence? Interactive engagement with the creative process takes precedence over the finite piece thus affecting the roles of the artist and the viewer. The papers included in this volume are drawn from recent CHArt conferences. The authors seek to articulate methodological and theoretical perspectives on digital media, including communication and preservation of digital artworks. These issues are pertinent to contemporary visual culture and may help deepen its understanding.


The Work of Art History in the Digital Age, A colloquium at The Clark, Williamstown, supported by the Andew W. Mellon Foundation, 27–28 June 2008.

[CH] ’Electronic Corpora of Artefacts: The Example of the Corpus of Romanesque Sculpture in Britain and Ireland’, The Virtual Representation of the Past, edited by Mark Greengrass and Lorna Hughes, Ashgate, 2008, pp. 179–190.


[S] Needs of the 3D Visualisation Community, A 3D Visualisation in the Arts Network (3DVisA) Report commissioned by the UK Joint Information Systems Committee (JISC), 2007.


[RP] ‘Technical Innovation in Art Historical Research: Opportunities and Problems’, A report from an AHRC ICT Methods Network seminar organised by Anna Bentkowska-Kafel and Tim Benton, Centre for Computing in the Humanities, King’s College, London, 20 November 2006, available at

[ED] Futures Past: Twenty Years of Arts Computing, co-edited with Trish Cashen and Hazel Gardiner, Computers and the History of Art (CHArt) Yearbook, vol. 2, Intellect, 2006. Available through CHArt

Contributors: Pierre R. Auboiron, Luciana Bordoni, Sian Everitt, Andrew E. Hershberger, Colum Hourihane, James Faure Walker, Catherine Mason, Vickie O’Riordan, Melanie Rowntree, Jutta Vinzent, Matthias Weiss

Eleven papers presented in this volume reflect upon the unprecedented ways in which digital media have been transforming art practice, study and education. They argue for a more profound understanding of digital culture. The authors look at the early development of computer art in the UK in the 1960s and 70s, and its far-reaching implications for contemporary art practice, exemplified by digital painting and the use of digital light systems for enhancement of the urban environment. With the benefit of hindsight it is now possible to look at futures past and assess the disparities between earlier visions of the future and reality. A frank account is given of a project which had promised great advances but failed to deliver, and others that have not only survived but continue to flourish.


[ED] Digital Art History, co-edited with Trish Cashen and Hazel Gardiner, Computers and the History of Art (CHArt) Yearbook, vol. 1, Intellect, 2005; available through CHArt and as an e-book.

Contributors: Stephen Clancy, Antonio Criminisi, Margaret E. Graham, Dew Harrison, Michael Hammel, Martin Kemp, Mary Pearce, K. Jonathan Riley, Nic Sheen, William Vaughan, Annette A. Ward, Wlodek Witek, Suzette Worden, Andrew Zisserman

A collection of papers some of which were presented at two CHArt conferences on digital art history held in 2001 and 2002 respectively. Some contributors discuss new methods of teaching being employed, making clear in particular the huge advantages that ICT can provide for engaging students in learning and interactive discussion. Some show how much is to be gained from the flexibility of the digital image — or could be gained if the roadblock of copyright is finally overcome. Others look at the impact on collections and archives, showing exciting ways of using computers to make available information about collections and archives and to provide new accessibility to archives. This book also covers the range of possibilities offered by digital media for new art forms. One point that emerges is that digital art is not a discrete practice, separated from other art forms. It is rather an approach that can involve all manner of association with other art practices and with other forms of presentation and enquiry, demonstrating that we are witnessing a revolution that affects all our activities, and not one that simply leads to the establishment of a new discipline to set alongside others.

Cited in: Pamela Fletcher, ‘Reflections on Digital Art History’,, College Art Association, 18 June 2015


[A] ‘Ikonologia cyfrowa – nowe oblicze starej metody’ [English summary: ‘Digital Iconology. A New Approach to the Old Method’], Ars Longa, Proceedings of the 47th Annual Conference of the Association of Art Historians (Poland) held at the National Museum, Warsaw, 19-21 November 1998, published in memory of Professor Jan Białostockied, ed. T. Hrankowska, Warsaw: Arx Regia, 1999, pp. 387-409.


[PhD] A Computer-aided Iconological Analysis of Anthropomorphic Landscapes in Western art, 1560s-1660s, Ph.D. thesis (CD-ROM), Nottingham Trent University, 1998.


[A] ‘Historyk sztuki wobec ikonografii cyfrowej. Metody komputerowe w badaniach nad Grobem Pańskim w Jerozolimie’ [English Summary: ‘An Art Historian Confronted by Digital Iconography: Computerised Methods Used in the Survey of the Tomb of Christ in Jerusalem’], Jerusalem in European Culture, Proceedings of the Conference held at the Institute of Art of the Polish Academy, Warsaw, 14-17 May 1996, ed. P. Paszkiewicz and T. Zadrożny, Warsaw, 1997, pp. 549-563.


[CH] ‘Millais: Digital and Interactive’ in: J. E. Millais. A Centenary Exhibition, ed. Claire Donovan and Joanne Bushnell, exh. cat., Southampton Institute and Southampton City Art Gallery, June/July 1996, pp. 16-21.

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