CFP: 4th Workshop on Computational History, Singapur, 6 Nov, 17

06.11.2017, Singapur, Pan Pacific Singapore

Held in conjunction with the 26th ACM International Conference on Information and Knowledge Management (CIKM 2017), 6-10 November, Singapore.

Mohammed Hasanuzzaman, ADAPT Centre: The Global Centre of Excellence for Digital Content and Media Innovation, Ireland; Adam Jatowt, Kyoto University, Japan; Gäel Dias, University of Caen Normandie, France; Marten Düring, Luxembourg Centre for Digital and Contemporary History (C2DH), Luxemburg; Antal van Den Bosch, Meertens Institute, Amsterdam, the Netherlands.

The HistoInformatics workshop series brings together researchers in the historical disciplines, computer science and associated disciplines as well as the cultural heritage sector. Historians, like other humanists show keen interests in computational approaches to the study and processing of digitized sources (usually text, images, audio). In computer science, experimental tools and methods stand the challenge to be validated regarding their relevance for real-world questions and applications. The HistoInformatics workshop series is designed to bring researchers in both fields together, to discuss best practices as well as possible future collaborations.

Traditionally, historical research is based on the hermeneutic investigation of preserved records and artefacts to provide a reliable account of the past and to discuss different hypotheses. Alongside this hermeneutic approach historians have always been interested to translate primary sources into data and used methods, often borrowed from the social sciences, to analyze them. A new wealth of digitized historical documents have however opened up completely new challenges for the computer-assisted analysis of e.g. large text or image corpora. Historians can greatly benefit from the advances of computer and information sciences which are dedicated to the processing, organization and analysis of such data. New computational techniques can be applied to help verify and validate historical assumptions. We call this approach HistoInformatics, analogous to Bioinformatics and ChemoInformatics which have respectively proposed new research trends in biology and chemistry. The main topics of the workshop are:

  1. support for historical research and analysis in general through the application of Computer Science theories or technologies,
  2. analysis and re-use of historical texts,
  3. analysis of collective memories,
  4. visualizations of historical data,
  5. access to large wealth of accumulated historical knowledge.

HistoInformatics workshops took place thrice in the past. The first one ( was held in conjunction with the 5th International Conference on Social Informatics in Kyoto, Japan in 2013. The second workshop ( took place at the same conference in the following year in Barcelona. The third workshop ( was held on July 2016 in Krakow, Poland in conjunction with ADHO’s 2016 Digital Humanities conference.

For Histoinformatics2017, we are interested in a wide range of topics which are of relevance for history, the cultural heritage sector and the humanities in general. Topics of interest include (but are not limited to):

  • Natural language processing and text analytics applied to historical documents
  • Analysis of longitudinal document collections
  • Search and retrieval in document archives and historical collections, associative search
  • Causal relationship discovery based on historical resources
  • Named entity recognition and disambiguation
  • Entity relationship extraction, detecting and resolving historical references in text
  • Finding analogical entities over time
  • Computational linguistics for old texts
  • Analysis of language change over time
  • Digitizing and archiving
  • Modeling evolution of entities and relationships over time
  • Automatic multimedia document dating
  • Applications of Artificial Intelligence techniques to History
  • Simulating and recreating the past course of actions, social relations, motivations, figurations
  • Handling uncertain and fragmentary text and image data
  • Automatic biography generation
  • Mining Wikipedia for historical data
  • OCR and transcription of old texts
  • Effective interfaces for searching, browsing or visualizing historical data collections
  • Studies on collective memory
  • Studying and modeling forgetting and remembering processes
  • Estimating credibility of historical findings
  • Probing the limits of Histoinformatics
  • Epistemologies in the Humanities and Computer Science

Practical Matters continue here


The CAA-Getty International Program, generously supported by the Getty Foundation, provides funding to between fifteen and twenty art historians, museum curators, and artists who teach art history to attend CAA’s Annual Conferences. The goal of the project is to increase international participation in CAA, to diversify the association’s membership, and to foster collaborations between North American art historians, artists, and curators and their international colleagues.

Since it began in 2012, the program has brought ninety scholars to the conferences, from forty-one countries located in Central and Eastern Europe, Russia, Asia, Southeast Asia, Africa, the Caribbean, and South America. Each year, a preconference colloquium on international topics in art history inaugurates the week, kicking off four days of conference sessions, meetings with new colleagues, and visits to museums and galleries. Subsequent to these events, the program has generated many scholarly collaborations, including publications, conferences, and exhibitions. Continue reading “CAA-GETTY INTERNATIONAL PROGRAM”

Invitation to TIAMSA’s 2017 AGM

Most members will be aware that we will hold our ANNUAL GENERAL MEETING (AGM) alongside TIAMSA’s first conference on Art Fairs, to be held in London from July 13th to 15th. As a TIAMSA member, you are cordially invited to attend this meeting, which will take place on

Thursday 13 July 2017

Sotheby’s Institute of Art
30 Bedford Square
London WC1B 3EE
Room 31 D+E (first floor)

We look forward to welcoming you at the AGM. Please remember that, in order to attend and vote at the AGM, you have to be a TIAMSA member in good standing. If you are uncertain about your membership status, please log in at or contact me on

This post or area is restricted to our paying members. If you are a member, please log in.
Not a TIAMSA member yet? Have a look at our benefits and become a member here.

Please note that we will provide more time for collective brainstorming on TIAMSA’s future on our conferences last plenary session, to be held on Saturday, July 15th, 4.45pm at Sotheby’s Institute of Art. Members who do not wish to attend the conference are welcome to attend this meeting without paying the conference fee.

With very best wishes,
Veronika Korbei, TIAMSA Coordinator

TIAMSA @ Art Basel Conversation, 15 June 2017

Public/ Private | New Rules: Is the Artworld a Mature Industry?

Art Basel and TIAMSA are teaming up in one of their round tables known as ‘Conversation‘:

New Rules: Is the Artworld a Mature Industry?

TIAMSA will be represented by Olav Velthuis, TIAMSA president and Johannes Nathan, TIAMSA Chair.

This talk addresses the rapidly changing business environment of art. Across the artworld, established but opaque ways of doing business are increasingly seen as a hindrance, not an advantage. Governments are eager to enact regulations, investment-minded collectors and analysts are pressing for greater transparency. Information is flowing more freely: It is no longer a question of whether data becomes available, but when, where, and on whose terms. The institutional sector is also under scrutiny, as funders demand accountability and clarity about the role of private interests. How will the artworld keep up with these developments? What can be done to modernize and professionalize the market without stifling its dynamism? What are the new rules of the art economy to follow?

Lindsay Pollock, former Editor-in-Chief, Art in America, New York; Olav Velthuis, Professor, Department of Sociology at University of Amsterdam, and President, TIAMSA, Amsterdam; Adam Sheffer, Partner, Cheim & Read, and President, Art Dealers Association of America, New York; Pierre Valentin, Partner, Constantine Cannon LLP, London; Bob Rennie, Collector, Vancouver.

Moderator: András Szántó, Author and Cultural Consultant, New York.

CFP: Surrealism in the United States (Paris, 27-29 Nov 17)

Networks, Museums and Collections.
Surrealism in the United States
International Conference at the German Center for Art History in Paris, 27–29 November 2017

Academic advisory board: Julia Drost (German Center for Art History, Paris), Fabrice Flahutez (Université Paris Nanterre), Anne Helmreich (College of Fine Arts, Texas Christian University), Martin Schieder (Universität Leipzig) and Susan Power (independent scholar).

Initially, Breton and the surrealists, in their understanding of themselves as an international avant-garde, literally did not have the United States on their map, as their famous “Le monde au temps des surréalistes” from 1929 attests. Nonetheless, surrealism found early institutional and economic recognition in the USA, already in the early 1930s. In November 1931, the first exhibition of surrealist art in the United States, Newer Super Realism, took place at the Wadsworth Athenaeum in Hartford, Connecticut. Continue reading “CFP: Surrealism in the United States (Paris, 27-29 Nov 17)”

Conf: Le collezioni degli artisti in Italia (Rome, 22 Jun 17)

Le collezioni degli artisti in Italia: trasformazioni e continuità di un fenomeno sociale tra Cinquecento e Settecento

The collections of artists in Italy: transformations and continuity of a social phenomenon between the sixteenth and eighteenth centuries

BSR British School at Rome, via Antonio Gramsci, 61, 22.06.2017

Organized by Francesca Parrilla and Matteo Borchia in collaboration with The British School at Rome (BSR) and the initiative of the Rome Art History Network (RAHN).

 One of the most fascinating aspects of collecting in the modern age concerns collections assembled by artists. It presents the artist in the special role of collector and creates a rather privileged view onto the the collector’s personality and social role. In the dwellings, shops and studios, together with the goods related to the practice of the craft, exhibitions are presented in accordance with valid design criteria, in addition to pieces of antiquity and objects of various nature. It is not always an arbitrary collection, but generally the possession of these works reflects a precise collector’s will, the result of personal pride, pure commercial speculation or the desire to rank at a higher level on the social scale.

The conference intends to address the many aspects of a delicate and problematic theme and provide the opportunity for a valid comparison between epochs and contexts from a social point of view. The emergence of differences and analogies in the overall Italian landscape will allow us to observe the various profiles taken by the artists (from connoisseur to antiquarian, from intellect to merchant).

Conference language and programme: ITALIAN


09.30 / Saluti
Thomas-Leo True (BSR), Ariane Varela Braga (RAHN – Università di Zurigo)

Francesca Parrilla (RAHN- Borsista presso la Fondazione 1563 per Arte e la Cultura della Compagnia di San Paolo, Torino)

10.00 / I sezione
modera: Alessandro Zuccari (Sapienza Università di Roma)

Linda Borean (Università di Udine): L’artista nel ruolo di collezionista nella Venezia barocca

Cecilia Vicentini (Università eCampus/Università di Ferrara): Inventari, testamenti e lasciti: carte di artisti ferraresi

11.00 /pausa caffè

Mauro Pavesi (Università Cattolica del Sacro Cuore): Tra mercato, collezionismo e accademia: il caso della Lombardia di Cinque e Seicento

Roberta Piccinelli (Università di Macerata): Le collezioni degli artisti a Mantova da Giulio Romano a Frans Geffels

Valentina Frascarolo (Università di Genova): Pittori intellettuali, storici e naturalisti nella Genova di primo seicento. Dimore e collezioni

13.30 / Pausa Pranzo

14.30 / II sezione
modera: Maria Cristina Terzaghi (Università Roma Tre)

Macarena Moralejo Ortega (Universidad de León): L’eredità di Federico Zuccari (1539-1609): libri e oggetti d’arte per la stesura di un elenco di sua proprietà

Riccardo Gandolfi (Sapienza Università di Roma): Prospero Orsi: pittore, mercante e “promotore” nella Roma del Seicento

Elena Onori (Sapienza Università di Roma): La bottega d’arte dei Manenti: centro di divulgazione della cultura metropolitana tra “centro” e “periferia” nel XVII secolo

Ginevra Odone (Université de Lorraine / Sapienza – Università di Roma): Dalla collezione di un artista a quella di un antiquario. Da Guglielmo Cortese (1679) a Giacomo Bellotti (1792)

15.50/ pausa caffè

Teresa Vale (ARTIS-Istituto di Storia dell’Arte della Facoltà di Lettere dell’Università di Lisbona): Tra casa e bottega: la presenza della pittura e della scultura negli inventari dei Valadier

Raquel Gallego Garcia (Universitat de Barcelona): Johan Tobias Sergel e la sua raccolta di disegni come esempio di una singolare forma di collezionismo

17.10 / III sezione
modera: Francesca Cappelletti (Università di Ferrara)

Matteo Gianeselli (Palais Fesch-musée des Beaux-Arts, Ajaccio/Institut national d’histoire de l’art, Paris): Dans l’intimité de Ridolfo del Ghirlandaio: les collections d’ «un’omo da bene»

Davide Dossi (Dipartimento di Grafica dell’Hessisches Landesmuseum di Darmstadt): Un artista collezionista nella Verona di primo Seicento: il caso Ottino

Alice Collavin (Scuola Normale Superiore di Pisa): Johann Carl Loth (1632-1698): artista, collezionista e sensale nella Venezia seicentesca

Francesco Lofano (Università degli studi di Bari): Atelier e collezioni di artisti nella Napoli del XVIII secolo

18.30 / Discussione e chiusura dei lavori (Matteo Borchia, Francesca Parrilla)

19.30 / Rinfresco e saluti

Per info:

CONF: Le collezioni degli artisti in Italia (Rome, 22 Jun 17). In: H-ArtHist, Jun 5, 2017 (accessed Jun 7, 2017).