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From Prints to Pixels: Looking and Living in the Age of Digital Aesthetics
A Collaborative Workshop at Penn State University
Palmer Museum of Art, Lipcon Auditorium, Gallery and the Drs. Albert and Lorraine Kligman
Print and Drawing Study Room
April 7, 2015 10:00AM1:00PM EST
Workshop Primer
Disclaimer: These are the personal views of Neal Stimler and do not necessarily reflect the views of The
Metropolitan Museum of Art.
This work is licensed with a Creative Commons AttributionNonCommercialNoDerivatives 4.0 International
license. (CC BYNCND 4.0): http://creativecommons.org/licenses/byncnd/4.0/
Neal Stimler
Digital Asset Specialist
The Metropolitan Museum of Art
@nealstimler
__________________________________________________________________________
Thank You:
Special thanks to Rose Cameron, Dana Carlisle Kletchka, Larry Ragan, Andrew Schulz,
Patrick McGrady, Henry Pisciotta and James O’Sullivan for all their efforts working with me in
preparation for the workshop.
Introduction:
This text is a primer for the collaborative workshop at the Palmer Museum of Art on the
campus of Penn State University entitled, "Prints to Pixels: Looking and Living in the Age of
Digital Aesthetics."
The focus of the workshop is to examine the practice of looking and living in the age of digital
aesthetics informed by the art historical tradition of studying prints as fine artworks, modes of
communication and visual information. It will thrive on the personal energy and reflections of
collaborative speakers in the lightning round of Part 1 and the critical insights participants will
bring into our performative art history critique session in Part 2, where we'll be examining
Plate 29 from Los Caprichos by Goya.
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2.
Part 1: Lightning Talks
The lightning talks will be 57 minute concise personal reflections about the speakers’
relationships with the study of prints, visuality and digital aesthetics. The talks will be
conversational in tone. Speakers will share particular moments with artworks, research
projects, mentors, trips abroad or collections that have been instrumental in shaping their
personal scholarly practice.
Each speaker will provide a reflective statement that offers insight into prints relationships with
respect to digital aesthetics. These statements will be projected as a slideshow during the
workshop to orient participants thoughts. We'll return to these statements as guides for
interpretation in our second exercise of Part 2.
Statements
Patrick McGrady
"As with all digital images, digital images of prints will no doubt play an increasingly important
role in digital culture; however, it's critical to keep in mind that a digital image of a print is not a
print."
Henry Pisciotta
"Reproductive media (printing, photography, cinema, computing, etc.) have always
transmitted and broadened culture and each fosters some form of literacy."
Andrew Schulz
"Although William Ivins taught us to think about prints as 'exactly repeatable pictorial
statements,' I am interested in the ways that impressions taken from the same plate often
function as unique images, and in the resulting complications in what it means to reproduce a
print in digital form."
Neal Stimler
"Graphic arts, from prints to GIFs, acutely trace the essences of human expression. Multiple
impressions of 'trace' are considered: an open process of wondrous discovery; a practice of
sketching ever emerging knowledge towards enlightenment; formal, intellectual and emotional
elements used to create compositions; an awareness of the flux nature of existence as the
perpetual inbetween state of having been, being and becoming."
Slides via SlideShare:
http://www.slideshare.net/nealstimler/psupalmerprintspixelslightningtalks
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3.
A question and answer period will follow the presentation of the lightning talks.
Part 2: Art History Critique Session
I'm especially excited for this performative critique session where we will be examining Plate
29 from Los Caprichos, “That certainly is being able to read (Esto si que es leer),” by
Francisco de Goya. The print will be examined in the context of its art history, museum
collections and study at the Palmer Museum of Art. The relationships of prints and
contemporary digital aesthetics will be the locus of conversation throughout this hour. In
addition to the print being displayed, it will also be viewed simultaneously on smartphones,
tablets, wearable devices and projected during the group discussion.
Francisco de Goya
Spanish, 1746–1828
Esto si que es leer (This is certainly reading)
Plate 29 from Los Caprichos, 1799
Etching and aquatint with burnishing and drypoint
2004.84
Palmer Museum of Art
Patrick McGrady, Charles V. Hallman Curator at the Palmer Museum of Art, will address
curatorial practice and print connoisseurship. He’ll offer remarks as to why Los Caprichos has
been widely collected, exhibited and studied in museum collections. McGrady will share with
participants what a curator's eye can teach viewers to savor about this particular image and
the series.
Henry Pisciotta, Art and Humanities Librarian at Penn State University Libraries, will unbind
the visual information of Plate 29 and position the act of reading in the scene and the title of
the print. He will share ideas about the print and series as texts. Pisciotta will address how
could this print be interpreted in a library vs. a museum collection historically and offer
remarks as to how those distinctions may or may not be meaningful now with digital
aesthetics.
Andrew Schulz, Professor of Art History and Associate Dean for Research, College of Arts
and Architecture, is a renowned Goya expert. He will share historical background on Goya's
life, work and the Los Caprichos series. Schulz shall offer insights into what is special about
Goya that viewers should always cherish. Professor Schulz’s book published by Cambridge
University Press in 2005, Goya's Caprichos: aesthetics, perception, and the body, will be
available for consultation.
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Neal Stimler, Digital Asset Specialist at The Metropolitan Museum of Art, will lead the group
through an examination of the artwork, viewing it as an analog print in situs, projected, on
mobile phones, tablets, a wrist display and headsup display.
The second part of the workshop will conclude with a group discussion lead by a moderator
and our participants until time concludes.
Zotero Group Library and Highlighted Resources:
As a resource for participants and the public, the workshop collaborators created a Zotero
Group Library, “palmerprintpixels.” The group library can be accessed here:
https://www.zotero.org/groups/palmerprintspixels.
The library contains a variety of references to articles, books, websites and audiovisual
assets. Zotero is a digital humanities research tool that aids scholars in organizing and
sharing research and bibliographies. To learn more about Groups on Zotero, visit
https://www.zotero.org/support/groups.
Offered here are a selection of resources from the Zotero Group Library available in digital
formats for access and consultation for workshop participants:
"Caprichos." Wikipedia. October 29, 2014. http://en.wikipedia.org/wiki/Caprichos
"Goya en el Prado: Los Caprichos." Museo Nacional Del Prado. 2015
https://www.museodelprado.es/goyaenelprado/obras/lista/?tx_gbgonline_pi1%5Bgocollecti
onids%5D=26
Goya, Francisco. Los caprichos. Introduction by Philip Hofer. New York: Dover Publications,
1969 http://store.doverpublications.com/0486223841.html
Ives, Colta and Susan Alyson Stein. Goya in the Metropolitan Museum of Art. New York: The
Metropolitan Museum of Art, 1995
http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/69630
Hairman, Robert and John Luis Lucaites. No Caption Needed: Iconic Photographs, Public
Culture, and Liberal Democracy. http://www.nocaptionneeded.com/
The Artists Project: Enrique Chagoya on Goya's Los Caprichos. Executive Director Thomas
P. Campbell. Series Producer Tersea Lai. Series Producer Christopher Noey. 2015. New
York, NY. The Metropolitan Museum of Art
http://artistproject.metmuseum.org/1/enriquechagoya/
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