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oa Deep Art History: Inferences between Google Arts & Culture and Art Museums

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The chapter compares the AI methods used by the online platform Google Art & Culture with the application of AI methods on the websites of the national galleries in Denmark and Norway. By re-activating theoretical insights offered by art historian Norman Bryson in the 1980s, the chapter critically examines the methodological opaqueness resulting from the art museums’ use of AI. By applying AI methods to their websites, the national galleries aim to open theirs collections to the broader public. However, paradoxically, this process obfuscates the underlying premisses for how the works of art are presented, how they are connected, and, hence, how meaning is ascribed to the works.

Keywords: AI methods ; art museum websites ; Digital Art History ; metadata ; methodological obfuscation ; New Art History ; Norman Bryson ; object detection ; SMK (National Gallery of Denmark) ; text recognition

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Deep Art History: Inferences between Google Arts & Culture and Art Museums
Intellect , 100 (2024); https://doi.org/10.1386/9781789389760_7
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  39. Manovich, Lev (2013), Software Takes Command: Extending the Language of New Media, New York: Bloomsbury Academic.
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     [Google Scholar]
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     [Google Scholar]
  52. Nochlin, Linda (1971), ‘Why have there been no great women artist?’ ARTnews, 69: 22–39, 67–71.
     [Google Scholar]
  53. Nochlin, Linda (1983), ‘The imaginary orient’, Art in America, pp. 119–31, 87–91.
     [Google Scholar]
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  56. Pereira, Gabriel and Moreschi Bruno (2021), ‘Artificial intelligence and institutional critique 2.0: Unexpected ways of seeing with computer vision’, AI & Society, 36, pp. 1201–23.
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  58. Rees, A.L. and Borzello F. (eds) (1988), The New Art History, Atlantic Highlands, New Jersey, USA: Humanities Press International, pp. 2–11.122
     [Google Scholar]
  59. Riegl, Alois (1992) [German original: 1893], Problems of Style: Foundations for a History of Ornament, Princeton: Princeton University Press.
     [Google Scholar]
  60. Sanderhoff, Merete and Edson, Michael Peter (2014), Sharing Is Caring: Openness and Sharing in the Cultural Heritage Sector, Kbh: Statens Museum for Kunst.
     [Google Scholar]
  61. Smith, Jonas (2017), ‘Everything anywhere: Welcome to your new life as a platform’, https://museum-id.com/everything-anywhere-welcome-new-life-platform/. Accessed 4 January 2024 .
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  67. WikiArt (2023), ‘Artists by art movement’, https://www.wikiart.org/en/artists-by-art-movement. Accessed 7 October 2023 .
  68. Wölfflin, Heinrich (1950) [German original 1915], Principles of Art History – The Problem of the Development of Style in Later Art, New York: Dover Publications.
     [Google Scholar]
  69. Zuboff, Shoshana (2019), The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power, New York: PublicAffairs.
     [Google Scholar]
  70. Zweig, Benjamin (2015), ‘Forgotten genealogies: Brief reflections on the history of digital art history’, DAH-Journal, 1, pp. 39–49.123
     [Google Scholar]

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