Michelle Moravec will present a lightening talk titled “Visualizing Schneemann explores the production of histories of art using multiple digital tools.” The artist’s correspondence is explored through data visualization (Raw), network analysis (Gephi) and corpus linguistics (AntConc).
1. What is your current involvement with “digital art history”?
For the past 20 years I’ve been studying the links between feminist art and the women’s liberation movement. During a sabbatical a few years ago as I travelled from archive to archive I realized the centrality of Carolee Schneemann to the networks I write about. When I saw the edited collection of her letters, I began to think about ways to exploring them with using digital tools. My project,Visualizing Schneemann combines many tools including NER (named entity recognition), corpus linguistics, scraping Google Books, and Raw and Gephi.
2. What is one of the most pressing issues in the field of “digital art history” today?
I’m worried about non canonical artists being left behind.
3. Where do you see innovations happening?
The speakers at “American Art History and Digital Scholarship: New Avenues of Exploration” conference were amazing. I’m also extremely excited to see what comes out of the Getty Sponsored digital art history summer programs at George Mason and UCLA
I am a associate professor of history at Rosemont College in Philadelphia where I direct the program in Women’s and Gender Studies.
After receiving my doctorate in women’s history from the University of California at Los Angeles, I pursued an alternative academic career for six years, first as the assistant director of the women’s leadership program at Mount St Mary’s College in Los Angeles, where I also taught women’s studies and history, and then as the Director of the Women’s Center at William Paterson University of New Jersey where I held a joint appointment as an assistant professor of history.
I have published extensively about feminist art and social movements in the United States. My current project, The Politics of Women’s Culture, takes an intellectual history approach to the idea of women’s culture as it developed among activists, artists and academics in the 1970s. I am particularly interested in the intersections between history and art done publicly. My method of Writing In Public is indebted to the practices of the feminist art activists I study.
I work in digital history and serve as a Subject Area specialist for NITLEin the areas of transforming the digital humanities and bridging digital divides between large and small institutions of higher education. I’m serve as the social media guide for Feminist Scholars Digital Writing@Hastac.