The book arts present a fascinating mix of scholarship and craft in which artists and artisans both expand on traditional techniques and engineer solutions to novel problems. Humans display a persistent need to document their ideas in story-telling form: cave paintings, clay tablets, papyri scrolls, codices, artists’ books, and e-books. The evolution of these formats tracks the accumulated knowledge that book artists still employ today, explaining why scholarship is integral to the craft of book arts. As such, a core collection for book artists must include everything from encyclopedias to broad histories to technical texts in the format of videos, written tutorials, history books, catalogues of online resources, sample books, and binding equipment. This collection is intended to form a cohesive presentation of the resources and equipment necessary for a broad sampling of book artists, providing an accessible starting point for students and practitioners in their own research and collection building.

My senior year of undergrad, a library coworker introduced me to the book arts program at Wellesley College. It is composed of the ideal trifecta of departments: studio book arts, conservation and special collections. Katherine Ruffin heads the Book Arts Lab, Emily Bell the Conservation Lab, and Ruth Rogers & Mariana Oler the Special Collections. In the Book Arts Lab, we learned about equipment safety, typesetting and printing on Vandercook presses, historic and modern bindings, papermaking, and a general history of the book. Emily provided support for individual students on more in-depth projects beyond the scope of the introductory course. Special Collections provided a hands-on look at the implementation of book arts from the pre-print books to contemporary conceptual artists’ books. Over the course of this class, Katherine, Emily, Ruth and Mariana provided us with a number of essential resources, many of which I still seek out today. Unfortunately, the syllabus and handouts wandered off since graduation, so I lost track of the majority of those sources. After speaking with other practitioners, I’ve realized that many others also struggle to keep those lists in a safe, consistent form. My hope is that, because the collection I’ve put together is stored on a publicly accessible board on Pinterest, the Books Artists’ Core Collection will act as a practical means of tracking essential resources for book artists.

Book Arts & Book Artists

As I first learned from Wellesley’s Intro to Book Arts and have continued to experience, book artists and book historians display a considerable willingness to share their knowledge. This, I believe, is indicative of the apprenticeship nature of the book arts. While apprenticeship is a wonderful and necessary system of knowledge sharing, it complicates efforts at creating an authoritative collection of sources for the diverse artists that populate the discipline.

The book arts cover many branches of artistic creation, all of which are employed in the production of both artistic and functional materials. These branches include papermaking, letterpress printing, printmaking, calligraphy, illumination, binding, and digital media. Regional histories of the book, primarily divided into Western, Asian, and Middle Eastern, form the trunk for those branches.[1] Artists’ preference for either historic, traditional book arts or for novel book forms and practices form the roots. The ‘tree’ of book arts is far reaching and various. To create a core collection broad and deep enough to feed that tree, I chose to house the digital collection and catalogue on Pinterest.

Why Pinterest?

Pinterest is a global social media site that performs as a community “bookmarking tool that helps [its users] discover and save creative ideas.”[2] Pinners (users) can create boards on whatever topic they wish and pin relevant items of interest from the Internet to that board. By clicking the pin, users are directed back to the pin’s webpage of origin.[3] The real beauty of Pinterest, though, lies in its varied access points to the site’s communal knowledge gathering. Pinterest boasts several different searching options to engage with that knowledge community: (1) a keyword search function that seeks out pins either on your own boards or across the whole of Pinterest, (2) a browsing function that allows pinners to see pins related to a particular pin, (3) a browsing function that allows pinners to see boards related to a particular board, (4) a browsing function that allows pinners to see other boards on which a particular pin is pinned, and (5) a browsing function that allows pinners to see what else from a particular site has been pinned to Pinterest.

(1)

(2)

(3)

(4)

(5)

This sort of searching and browsing turns Pinterest into a highly linked catalogue and thesaurus. One pin can create an entire network of related items, which means that the Book Artists’ Core Collection acts as a jumping off point for practitioners to research more in-depth projects. For example, if an artist wishes to create a medieval book of hours, she can find the items in the core collection on parchment and papermaking, medieval bindings, paleography of the period, and illumination styles from various regions. Then once she determines the period and region she wishes to emulate, say a 14th century English binding, the artist can use those pins from the collection to seek out related items to provide further resources that are too specialized for the Core Collection, such as the saints that would have been significant to the region at the time or the plants and scenes most popularly illuminated, etc. Pinterest functions as an ideal means of creating a collection not limited by individual holdings, and thus not limiting those using the collection.

The Book Artists’ Core Collection board is also publicly available to anyone online with access to Pinterest. Having this core collection catalogue generally available helps combat the knowledge loss from misplaced handouts and course syllabi. Also, by storing the catalogue on Pinterest, users of the collection have not only easy browsing options, but also a simple means of accessing the online resources, such as the YouTube tutorials and samples of digital artists’ books. The major drawback of Pinterest as a platform for the collection lies in its lack of tagging. While I listed the subject headings in the description boxes for each pin, Pinterest has no function to search the collection by subject heading within the board, meaning that users have to scroll through the pins to locate items that might be of interest. While this is a major disadvantage, I felt that it was negligible compared to the advantages of the platform. Firstly, the collection is small enough that scrolling through is not too onerous, and two, it requires users to become familiar with the collection as a whole, thus introducing them to connections between resources that they might otherwise have missed.

The Collecting Process

My collecting process began with seeking out my old handouts and syllabus from Wellesley’s Intro to Book Arts course. Failing to locate those, I turned to the authorities in the discipline to orient me: the Center for the Book at the University of Iowa, the Book Arts Program at the University of Alabama, and the Rare Book School at the University of Virginia. Iowa and Alabama are renowned for the strength of their book arts studio programs and the Rare Book School (RBS) is internationally respected for its instruction in the study of the book arts and the history of the book. Like Wellesley College, the studio programs’ websites listed only course options, not course syllabi. From their course listings, I formed the structure of the Book Artists’ Core Collection:

1. General History
2. Papermaking
3. Printing
4. Calligraphy & Illumination
5. Binding
6. Digital Lab
7. Equipment

My source for the resources under of each of these subject headings came almost exclusively from the RBS’s curriculum website, which does provide syllabi online for every course. I’m confident in the efficacy of these headings, since they are used as guiding themes by the Center for the Book, the Book Arts Program and the RBS, as well as my Wellesley course. I provide a breakdown of each subject heading in the sections below. Katherine and several other regional book artists also contributed noteworthy resources to supplement the thorough reading lists from the RBS. Though I depended primarily on RBS for hardcopy materials and select databases, the collection is still well rounded; the RBS hosts an extensive faculty of international scholars and experts in the study of book arts. By selecting a large cross-section of resources from the syllabi in all relevant subject areas, the Book Artists’ Core Collection remains broad and balanced. The tutorial videos channels from YouTube I selected from my own familiarity with the skills displayed, confirmed in their authority by aligning with the instructions given by well-respected authors in print. The equipment I chose from the most commonly needed items in a book arts studio that are not finite, and therefore reusable by multiple patrons for an indefinite period of time.

I chose not to emphasize the library science-oriented portion of the study of book arts because, while scholarship is necessary to the practice of book artists, information about collections management and analytical bibliography generally do not hold much relevance. I also didn’t include individual artists books in the collection because of the cost per book and because that sort of collecting is more within the sphere of special collections. The sole exception to this rule is Karen Hanmer’s Biblio Tech: Reverse Engineering Historical & Modern Binding Structures with a focus on board attachment (2013), which is meant as a teaching tool and provides such an array of binding structures that it is worth the investment. I instead included catalogues of artists’ books, ones that described binding styles, as well as more standard artwork metadata.

In the sections below elaborating on the subject headings, I have only included highlights from the collection to illustrate the sort of resources under that heading. While the collection is small enough to browse, it still contains 240+ items, most of which are fall under more than one heading due to the interdisciplinary nature of book arts. Therefore, listing them all under each heading would test any reader’s patience. Instead, I request that you visit the catalogue on Pinterest to examine the entirety of the collection.

General History

General history primarily contains the items that describe the historical development and evolution of various techniques in the book arts. For instance, Edo & Paris recounts the realities and depictions of early modern urban life and the state drawn from illustrated books from the period, allowing artists to see which styles were appropriate in which contexts and how they interacted with the codex form.[4]

This section also contains general knowledge, such as dictionaries and encyclopedias. I included these in this section because terms often developed and expanded over time, thus history can be read from the definition of terms. One example in the collection is the ABC of bookbinding: a unique glossary with over 700 illustrations for collectors and librarians. Though oriented towards library professionals and collectors, identification of terms from both text and image is key for book artists, particularly those new to the discipline.[5]

Papermaking

Papermaking, parchment making, and paper selection are all included under the Papermaking subject heading. This section includes instruction manuals, histories of writing surfaces and paper sample books. Japanese Papermaking: Traditions, Tools, and Techniques is representative of both the history texts and instruction manuals, since it goes through the historical techniques and their contexts in Japan. Sample books of both textblock and cover material are necessary to a core collection because it can be prohibitively expensive for individual artists to order sample books for each type of paper in which she’s interested. For instance, one company might have five lines of decorative papers, each of which have a sample book. Without actually interacting with the material, it can prove challenging for artists to select the appropriate papers just based on descriptions and a picture. Fine Papers at the Oxford University Press is representative of sample books, though it comes in a more traditional book form than many others.[6]

Printing

This subject heading includes both typography and illustrative printing. For the typography section of Printing, the collection primarily covers the development and history of typefaces and type design. For illustrative printing, the collection focuses on the identification of different kinds of printing methods and the use of illustrations in texts and ephemera. The printing section does not cover much instruction on the technical process of either branch of printing, since the knowledge needed changes for each press and since so many types of illustrative printing exist (e.g. drypoint and wood block). American Wood Type, 1828-1900 is representative of the typography portion of Printing. It follows the development, creation, dissemination and use of wood type in early-modern America. Another sort of typography resource includes those like graphic designer Marian Bantjes’ Ted Talk, in which Bantjes describes how graphic design and her individual style influences the way she depicts text.[7] The Picture Postcard & Its Origins is representative the ephemera section of illustrative printing, providing reference images for artists looking to create images of their own.[8]

Calligraphy & Illumination

Calligraphy & Illumination I incorporated together as a subject heading because they share many of the same tools and techniques and are often addressed together in book arts literature. Paleography, though, is the primary domain of Calligraphy, just as manuscript illumination is the primary domain of Illumination. Palaeography, 1500-1800: A Practical Online Tutorial from the National Archives represents the former and is one of several online tutorials that provide history, identification and execution as their focus.[9] Painted Prayers: The Book of Hours in Medieval and Renaissance Art represents the latter, as well as the former, displaying specimens from books of hours, the most common and highly illuminated genre extant from the medieval period.[10]

Binding

Binding, alongside Papermaking, serves as the most significant contribution to book arts technical skills offered by this collection. This subject covers both the history of binding styles and tutorials on replicating binding structures. Historically, much scholarship has been dedicated to analyzing the covers of books; Twelve Centuries of Bookbinding, 400-1600 is one of these texts that couches cover analysis within historical context.[11] The historical and technical is combined in Bookbinding Materials And Techniques, 1700-1920, in which the author couches technical innovations in its historical context.[12]

For book structures, both tutorials and models are essential. To provide models, I included Karen Hanmer’s Biblio Tech binding set, as mentioned in the section on The Collection Process.[13] Making Handmade Books: 100 Bindings, Structures & Forms provides instruction for various binding structures, both traditional and modern.[14]

Artists’ books also fall within this subject heading. As a form begun in the twentieth century, the discipline is still testing the bounds of what it means to create an ‘artist’s book.’ As Ruth phrased it when explaining her collecting process, “if it tells an engaging story in a novel way and it fits on the Special Collection’s shelves, it’s an artist’s book by my definition.” Essentially, though, an artist’s book is a work of art that interacts somehow with the storytelling aspect of a book structure. Johanna Drucker, in The Century of Artists’ Books, provides the most engaging overview of the artist’s book, situating it historically and stylistically, as well as examining its conceptualization.[15]

Digital Lab

The Digital Lab resources are the least developed part of the core collection. Because this is still such a new field in the grand scheme of book arts, a critical volume of resources has not yet developed. I included critical and technical resources, as well as some exhibition catalogues, to provide basic context, skills and examples of how artists are beginning to incorporate the digital into their practice. For the critical, I included The Abominable Digital Artists’ Book: Myth or Reality? by Esmée de Heer.[16] She defines the artist’s book and discusses the current status and potential future of digital technology in their creation. For skills acquisition, I included the Tate’s workshop on Transforming Artists Books, which links to the workshop reflections on skill sets and forms.[17] The best exhibition catalogue I encountered was Non-visible and Intangible, hosted by Hampshire College from 7-16 November 2012.[18] It shows the various stages at which digital technologies might integrate with more traditional forms, as well as how to make the digital form interactive in unexpected ways.

Equipment

As mentioned previously, I chose the equipment from personal observation of the most necessary items in a book artist’s toolbox that are not finite. Finite items—like paper, thread, and ink supplies—belong to the realm of art cages or studios rather than libraries. As such, the Book Artists’ Core Collection includes items like a travel kit of binding equipment, a sewing frame and a collapsible punching trough. These items can be repeatedly checked out by any number of users to supplement their own collections or help them get a feel for which styles or brands of equipment they most require.

[1] This particular breakdown of book arts was informed by the curriculum at both the University of Iowa Center for the Book and theBook Arts Program at University of Alabama.

[2] “Press.” About Pinterest. 2015.

[3] For more about using Pinterest, see the website’s promotional video.

[4] Henry D. Smith, II. “The History of the Book in Edo and Paris” in Edo and Paris: Urban Life and the State in the Early Modern Era. Edited by James L. McClain et al. Ithaca: Cornell University Press, 1994. Paperback, 1997. pp. 332-52.

[5]Jane Greenfield. ABC of bookbinding; a unique glossary with over 700 illustrations for collectors and librarians. New Castle, Carlton, 2002.

[6] Barrett, Timothy. Japanese Papermaking: Traditions, Tools, and Techniques. Colorado: Weatherhill, 1992; Bidwell, John. Fine Papers at the Oxford University Press. Whittington: Whittington Press, 1999.

[7] “Marian Bantjes: Intricate Beauty by Design.” Ted Talks. 2010.

[8] Kelly, Rob Roy. American Wood Type 1828 – 1900: Notes on the Evolution of Decorated and Large Types and Comments on Related Trades of the Period. New York: Da Capo Press, 1977; Staff, Frank. The Picture Postcard & Its Origins. New York: F.A. Praeger, 1966.

[9] “Palaeography, 1500-1800: A Practical Online Tutorial.” The National Archives. 2006.

[10] Wieck, Roger S. Painted Prayers: The Book of Hours in Medieval and Renaissance Art. New York: George Braziller, 1999.

[11] Needham, Paul. Twelve Centuries of Bookbindings, 400-1600. New York: Pierpont Morgan Library, 1979.

[12] Lock, Margaret. Bookbinding Materials and Techniques, 1700-1920. Toronto: Canadian Bookbinders and Book Artists Guild, 2003.

[13] Hanmer, Karen. Biblio Tech: Reverse engineering historical and modern binding structures. 2013.

[14] Golden, Alisa J. Making Handmade Books: 100 Bindings, Structures & Forms. New York: Lark Crafts, 2010.

[15] Drucker, Johanna. The Century of Artists’ Books. 2nd ed. New York: Granary Books, 2004.

[16] De Heer, Esmée. “The Abominable Digital Artists’ Book: Myth or Reality?” Universitiet Leiden: Masters Theses. 20 November 2012.

[17] “Transforming Artist Books.” Tate. August 2012.

[18] “About.” Non-Visible & Intangible. November 12, 2012.

Bibliography

“About.” Non-Visible & Intangible. November 12, 2012.

“About Pinterest.” Pinterest. 2015.

“Advance Reading Lists.” Rare Book School. 2015.

Barrett, Timothy. Japanese Papermaking: Traditions, Tools, and Techniques. Colorado: Weatherhill, 1992.

Bidwell, John. Fine Papers at the Oxford University Press. Whittington: Whittington Press, 1999.

“Curriculum | Book Arts.” Book Art @ Alamaba. University of Alabama. 2015

de Heer, Esmée. “The Abominable Digital Artists’ Book: Myth or Reality?” Universitiet Leiden: Masters Theses. November 20, 2012.

Drucker, Johanna. The Century of Artists’ Books. 2nd ed. New York: Granary Books, 2004.

Golden, Alisa J. Making Handmade Books: 100 Bindings, Structures & Forms. New York: Lark Crafts, 2010.

Grab, Elizabeth. “Book Artists’ Core Collection.” Pinterest. December, 2015.

Hanmer, Karen. Biblio Tech: Reverse engineering historical and modern binding structures. 2013.

Kelly, Rob Roy. American Wood Type 1828 – 1900: Notes on the Evolution of Decorated and Large Types and Comments on Related Trades of the Period. New York: Da Capo Press, 1977.

“List of Courses.” Center for the Book. University of Iowa. 2015.

Lock, Margaret. Bookbinding Materials and Techniques, 1700-1920. Toronto: Canadian Bookbinders and Book Artists Guild, 2003.

“Marian Bantjes: Intricate Beauty by Design.” Ted Talks. 2010.

Needham, Paul. Twelve Centuries of Bookbindings, 400-1600. New York: Pierpont Morgan Library, 1979.

“Palaeography, 1500-1800: A Practical Online Tutorial.” The National Archives. 2006.

“Press.” About Pinterest. 2015.

Staff, Frank. The Picture Postcard & Its Origins. New York: F.A. Praeger, 1966.

“Transforming Artist Books.” Tate. August 1, 2012.

Wieck, Roger S. Painted Prayers: The Book of Hours in Medieval and Renaissance Art. New York: George Braziller, 1999.

[Originally posted on Rambling Rambler Press @ WordPress on 9 December 2015]

When I heard Jaskot’s talk, I realized that I was missing out on a new and interesting approach to art history. I had previously used technology to record, organize, and even represent my work as part of a larger conventional framework. I had not used technology to help me better understand my work or to help me draw new conclusions.  —Nancy Ross, Dixie State University

This comment from Nancy Ross’ article “Teaching Twentieth Century Art History with Gender and Data Visualizations” gets at the heart of digital humanities research as we’ve understood it in this class.  For most scholars, digital humanity tools are a means of producing an accompanying visualization.  This neglects how digital humanity tools can actually serve as a new means of interpretation and scholarly output—an expression of research in itself.  Ross goes on to describe how she used a non canonical text book paired with a group networking visualization project to help her undergraduates to better grasp the implications of the research they were conducting on women artists and their social-professional networks.  The students responded with enthusiasm and noted how the process of constructing the visualization altered and strengthened the conclusions they had begin to draw before seeing their research in a new form.

In a class discussion on virtual reality models for architectural spaces, JJ commented that many of the scholars working to put the visualization together found the process of compiling the data and making it work cohesively was actually far more revealing than the finalized model itself.  Inputting the data dramatically altered the scholars’ understanding of how the space worked, while the final product looked as if the space was always meant to be understood in that way.  Process can be a powerful too in research.  See, for example, the outputs resulting from George Mason University’ new technology requirement for its art history master’s program.  These projects allowed the students to experiment with new media relevant to their professional interests while exploring previously unforeseen connections and research conclusions facilitated by their software.

In terms of pedagogy, digital humanities projects really can prove the ideal form for student engagement.  Randy Bass of Georgetown’s Center for New Designs in Learning & Scholarship provides a comprehensive breakdown of learning approaches made possible by assigning digital projects.

1. Distributive Learning – the combination of growing access to distributed resources and the availability of media tools by which to construct and share interpretation of these resources allows for distribution of classroom responsibility to students.
2. Authentic Tasks and Complex Inquiry – the availability of large archives of primary resources online makes possible assignments that allow for authentic research and the complex expression of research conclusions.
3. Dialogic Learning – interactive and telecommunications technologies allow for asynchronous and synchronous learning experiences and provide spaces for conversations and exposure to a wide array of viewpoints and varied positions.
4. Constructive Learning – the ability to create environments where students can construct projects that involve interdisciplinary, intellectual connections through the use of digital media that are usable.
5. Public Accountability – the ease of transmission of digital media makes it easy to share work, raising the stakes of participation due to the possibility of public display.
6. Reflective and Critical Thinking – in aggregate, learning as experienced within digital media now available to pedagogues contributes to the development of complex reflective and critical thinking that educators wish to instill in their students.

In my own learning experiences, I’ve found that engaging with new media with an assortment of these 6 learning approaches in mind allows me to conceive of my research in a broader context and with a more diverse audience while still delving deeply into the subject.  Like Nancy Ross’ students, my attention was sustained for much longer and in manifold ways by having to think critically about making the platform or software work for my purposes.

This course is also making me look back on previous assignments or projects I’ve worked on that could have dramatically benefited from the creation and inclusion of DH visuals.  For example, as a senior at Wellesley College, I contributed to a transcription and annotation project around Anne Whitney that was associated with Jackie Musacchio’s course on 19th century women artists traveling abroad.  As part of the course, we established a standard for transcribing Anne Whitney’s letters from the collection in our archives.  The annotation process included researching & footnoting all items of note in our assigned letters and establishing biographies for each individual mentioned, linking letters to which she referenced or within which she continued conversation of a topic.  The relationships between Americans participating in the Grand Tour and establishing studios in Europe (Italy especially) was quite tight, ensuring few degrees of separation between cliques.  Since Whitney so considerately dated all of her letters and virtually always provided her geographic location, a networked or GIS visualization of the data compiled in the annotation process could show Whitney’s place in the social melee, who she was interacting with where and when, how they connected to other travelers and artists, where Whitney was showing and with whom, just to name a few avenues for the map.  This could prove especially fruitful when compared to similar projects occurring in the area that focus on artistic output in the areas in which Whitney was active.

Part of why this sort of visualization might prove important is that it would use that data we’d already compiled to participate in dialogue around these artists and the state of the art world at the time, ensuring relevance beyond just those interested in Anne Whitney.  Were the data to be scrubbed in a way that allows for replication or other modeling and then making that data open source would doubly ensure this.

Conceiving of social media as another teaching platform for students.

I use Pinterest with embarrassing regularity—both as a personal indulgence in planning the minutia of my theoretical future home, as well as a platform for more scholarly endeavors that incorporate various media.  Other than the lack of tagging capabilities, the site is beautifully suited for research and reference.

For example, in my Collections Development course, Professor Mary Grace Flaherty assigned a final project in which we developed a collection for a specific population.  I chose to create a core collection for book artists.  Instead of simply compiling a bibliography of resources, I created a Pinterest board to host a more dynamic catalogue.  Why Pinterest, you may ask?  One obvious advantage is that it embeds video directly into the pin (AKA a catalogue entry, in this case).  Of far more importance, however, are Pinterest’s networked search functions.  As mentioned, Pinterest doesn’t allow for tagging of pins to simplify searching by category within a single board.  It does allow for 1 keyword search function and 4 different browsing functions across boards and pins, though.

Let me break those 5 functions down for you:

1. A keyword search function that seeks out pins using 4 limiters: searching across all pins Pinterest; searching across your pins; searching for other pinners; or searching for boards.  This search function also suggests terms to allow for greater granularity.
   
2. A browsing function that allows users to see other pins related to a particular pin.
   
3. A browsing function that allows pinners to see other boards with items related to a particular pin.
   
4. A browsing function that allows pinners to see other boards on which a particular pin is pinned.
   
5. A browsing function that allows pinners to see what else from a particular site has been pinned on Pinterest.
   

This sort of searching and browsing turns Pinterest into a highly linked catalogue and thesaurus.  One pin can create an entire network of related items, which turns the items in the Book Artists’ Core Collection into a starting point for practitioners or scholars to conduct more in-depth research into a project.  When I began the research that inspired this collection (for a book arts class, which also has its own reference board), Pinterest allowed me to delve deeply into contemporary and traditional methods for emulating every aspect of a British 14th century book of hours.  It also provided inspiration for how to shape that book of hours into an artist book documenting the history of the book.  By identifying one relevant pin on parchment & papermaking or regional binding methods or paleography & typography, I could follow those pins to related resources by using the browsing functions, or even just by following the pin back to its source.

By using Pinterest as the host for my catalogue, I also skirted around the limitations inherent in any collection—one can only develop each topic within a collecting area up to a point before the resources are outside of the collecting scope.  Pinterest lets users control when they’re deep enough into a topic, since the boundaries of the catalogue are so malleable.  For instance, my core collection doesn’t contain an encyclopaedia on the saints or regional medieval plants.  This information is highly relevant to a book artist working on a book of hours, but it’s too granular for a core collection of resources.  For more on the Book Artists’ Core Collection, see this blog post.

Articles on digital pedagogy:

• Roberd DeCaroli, “New Media and New Scholars,” presentation to Rebuilding the Portfolio, July 17, 2014 http://arthistory2014.doingdh.org/wp-content/uploads/sites/3/2014/07/CLIO.pdf
• Kimon Keramidas, “Interactive Development as Pedagogical Process: Digital Media Design in the Classroom as a Method for Recontextualizing the Study of Material Culture” Museums and the Web 2014: Proceedings http://mw2014.museumsandtheweb.com/paper/interactive-development-as-pedagogical-process-digital-media-design-in-the-classroom-as-a-method-for-recontextualizing-the-study-of-material-culture/
• Digital pedagogy teaching tools: Art History Teaching Resources, Smarthistory, and Art Museum Teaching
• Nancy Ross, “Teaching Twentieth-Century Art History with Gender and Data Visualizations,” Journal of Interactive Technology and Pedagogy, (Issue 4) http://jitp.commons.gc.cuny.edu/teaching-twentieth-century-art-history-with-gender-and-data-visualizations/
• Gretchen Kreahling McKay, “Reacting to the Past: Art in Paris, 1888-89,” http://arthistoryteachingresources.org/2016/03/reacting-to-the-past-art-in-paris-1888-89/