An Undergraduate Fellow’s Experience at The Frick

November 15, 2017

Gaby Bloom is a current Wired! Fellow who interned at the Frick Collection in New York this past summer. Here she describes her work with Wired! and how she was able to apply this experience at the Frick:

I have been working in the Wired! Lab since my sophomore year when I started working with Professor Huffman on her project, A Portrait of Venice. During this time, I used Neatline and Omeka to map out the provenance of paintings owned by prominent collectors in Venice during the sixteenth century. I learned how to use the software and developed a strong interest in studying provenance. When I returned from my semester abroad in Aix en Provence, France, last spring, I joined Professor Galletti on her project, Paris of Waters. I studied secondary source documents and then began compiling a dataset of fountains in Paris. I will continue working on this project this year.

This past summer, I interned at the Frick Collection’s Digital Art History Lab, which is connected to the Frick Art Reference Library. I worked specifically on the Frick’s Vermeer database, enhancing the database. I also researched visualization tools and used these tools to display data from the Vermeer database. The research experience and skills I learned in the Wired! Lab really helped me to excel in my internship. My supervisors valued my knowledge of Omeka and Neatline as well as my knowledge of other visualization tools. By the end of my internship, I had created a timeline of Vermeer attributions (screenshot shown above). I mapped out five different catalogue raisonnés to examine the occurrence of different paintings in Vermeer literature. This internship enabled to learn about the inner workings of an art museum as well as to expand my knowledge about the art world, and the Wired! Lab helped me get there!

Image Credit: Gaby Bloom

The Lives of Places & Things: International Joint Workshop

November 20, 2017 — November 21, 2017
University of Padua

Members of Visualizing Venice, including Wired! Lab faculty and faculty and students from the University of Padua and Nanyang Technological University, are presenting their research methods and pedagogical practices in an international workshop held at the University of Padua November 20-21, 2017. November 20th will focus on the project “The Lives of Cities: Maritime Famagusta” while November 21st will focus on “The Lives of Places and Things: Heritage Visualization,” featuring research from both the University of Padua and the Wired! Lab at Duke University. The full program is available here. The symposium web page is here.


Caroline Bruzelius

Andrea Giordano

Kristin Huffman

Paul Jaskot

Mark Olson

Victoria Szabo

Michael Walsh


Visualizing Venice

Open House: Projects, Courses, Pizza!

October 27, 2017
Wired! Lab (Smith Warehouse | Bay 11 | A233)


Are you wondering what Wired! is all about? Do you want to get involved in the Wired! Lab’s humanities research projects? Or maybe you’d like to find out what Wired! faculty are teaching next semester? Come hang out and learn more about the projects and courses Wired! offers; meet our new director, Paul Jaskot; and eat pizza!

Here’s how to find us, and here’s a sneak peek of the different projects you can find out about:


Duke Receives NEH Grant for Virtual & Augmented Reality Summer Institute

October 11, 2017

Wired! is thrilled to be a co-sponsor of the Summer 2018/19 Institute for Advanced Topics in Digital Humanities, HT-256969 Virtual and Augmented Reality for the Digital Humanities Institute (V/AR-DHI).

V/AR-DHI consists of a two-week summer institute for up to 12 participants to take place in Summer 2018 and to be focused on the application of VR and AR to humanities research, teaching and outreach. The program is co-sponsored by the Digital Humanities Initiative at the John Hope Franklin Humanities Institute, the Wired! Lab for Digital Art History & Visual Culture, the Information Science + Studies Program, the History Department, and the Duke Immersive Virtual Environment (DiVE) in the Pratt School of Engineering. The focus is on developing virtual and augmented reality capacity among humanities researchers through a combination of critical and scientific readings and discussion, hands-on development workshops, informed critiques of existing projects, and group project implementation and reflection. It is also to intervene in the VR/AR scientific conversation from a humanistic perspective.  Throughout the workshop, participants will discuss best practices, optimal workflows, and strategies for collaboration. After the workshop the participants will communicate via a shared blog and social networking site. Workshop materials will be published online in the form of streaming videos, handouts, and exercises. In Year Two the instructional team will reconvene to finalize the formal white paper as well refine the online resources based on user feedback, participant contributions, and collective development of the field in the intervening period.

The program is designed for humanists who already demonstrate basic digital and/or computational skills in areas such as database design, image and time-based media editing, creative coding, HGIS, 3D modeling, data visualization and other areas, and who wish to expand their repertoire of available methods to include VR and AR.  The goals of the workshop are: 1) to provide opportunities for interactive digital annotation of real and virtual artifacts; 2) re-imagine archival interfaces by engaging space and time; 3) to imaginatively reconstruct and present past or hypothetical built structures within interactive environments; and 4) to articulate best practice, challenges, and opportunities these emergent forms offer to humanities scholarship. Because V/AR-DHI is the first Institute devoted to the analysis and discussion of the intellectual value of VR & AR to be conducted by digital humanities scholars, it promises making a significant impact in a variety of fields.

PI: VIctoria Szabo, Art, Art History & Visual Studies and Information Science + Studies
Co-PI: Philip Stern, History

First Meeting: July 23-August 3, 2018
Second Meeting: July 2019 (specific dates TBA)

Details, CFP, and V/AR-DHI Summer Institute schedule forthcoming. For updates on the program as it develops, Subscribe to our Mailing List.

A Symposium on de’ Barbari’s Marvelous View of Venice

October 12, 2017 — October 13, 2017
Nasher Museum of Art, Duke University

The symposium, “Stories about Venice and de’ Barbari’s Marvelous View of 1500,” will be held Thursday, October 12, and Friday, October 13, at the Nasher Museum of Art at Duke University in conjunction with the Nasher exhibition, “A Portrait of Venice: Jacopo de’Barbari’s View of 1500,” curated by Kristin L. Huffman, Instructor of Art History in the Department of Art, Art History & Visual Studies. The project, part of the Visualizing Venice initiative,
is the result of multi-disciplinary and collaborative research developed over three years in the Wired! Lab at Duke.

Printed in 1500, this mural-sized woodcut portrays a bird’s eye view of the city that was instantly recognized as a technological and artistic masterpiece, a portrait of an urban marvel. For the first time, this exhibition animates the View of Venice with interactive displays that tell the stories of one of the wealthiest, most powerful, and greatly admired cities in the early modern world.

The symposium brings together experts on Early Modern Venice who will discuss de’ Barbari and his View of 1500, as well as the city of Venice and its urban and socio-cultural phenomenon at the time.

This symposium is free and open to the public and is made possible by with the generous support of The Gladys Krieble Delmas Foundation, the Nasher Museum of Art at Duke University, the Wired! Lab, and Visualizing Venice.


A Portrait of Venice

News & Events

A Portrait of Venice Opens at the Nasher Museum of Art

Announcing the Visualizing Venice 2018 Summer Institute

September 20, 2017

The Wired! Lab and its Visualizing Venice collaborators are excited to announce a new Visualizing Venice Summer Institute: Advanced Topics in Digital Art History: 3D (Geo)Spatial Networks!

This Getty Foundation supported workshop will support interdisciplinary teams focused on the hard questions of Digital Art History as a discipline, a set of methods, and a host of technical and institutional challenges and opportunities.

Participants will gather from June 4-16, 2018 in Venice, Italy at Venice International University, with follow-up activities taking place over the course of the 2018-19 academic year, and leading into a follow-on gathering in Summer of 2019 that will operate as a writing and digital publication workshop, building upon work done over the course of the year by the project teams and in collaboration with our wider network.

We anticipate bringing together approximately 7-8 teams of 2-3 participants drawn from an international set of collaborators focused on scaling up an existing Digital Art History project, with special attention to projects focused on the intersection of mapping and modeling, and those thematized around Visualizing Cities.

Alumni/ae of our previous Visualizing Venice workshops are especially encouraged to apply.

Support for this Visualizing Venice program is provided by the Getty Foundation, as part of its Digital Art History initiative. Organizing partners include Venice International UniversityDuke University‘s Wired Lab for Digital Art History & Visual Culture, and the University of Padua‘s Architecture and Engineering program.

The workshop Teaching Team includes

Senior Advisors:

Workshop Leaders:

  • Mark Olson, Assistant Professor,  Duke University (Co-PI)
  • Victoria Szabo, Associate Research Professor, Duke University (PI)

Lecturers and Discussion Leaders:

  • Hannah Jacobs, IT Analyst and Digital Humanities Specialist, Duke University
  • Ed Triplett, Lecturing Fellow, Duke University

Guest Lecturers:

The Call for Applications will open in Fall 2017. See the workshop website for more information.

From Point Cloud to Projection Mapping: MA Student Ruby Hung’s Summer Research

August 29, 2017

In 2016, Ed Triplett gathered a group of photogrammetry-curious students, staff, and faculty to crowdsource a model of the interior of Duke’s newly renovated chapel. The project served as a training exercise for professionals and researchers seeking to learn photogrammetry techniques for both technical and humanistic endeavors–and in this 8 million point cloud model of Duke Chapel.

Now MA in Digital Art History student Ruby Hung is building her thesis out of this model as she develops a proposal for an exhibition to be viewed in the chapel’s vaulted ceiling. The proposed exhibition would be presented through projection mapping, a type of light projection that matches visual media, both image and video, to the contours of three dimensional surfaces. The project’s goals include exploring the challenge of prototyping a projection mapping project using 3D printed models, creating a medium-specific historical narrative about the chapel, and developing an exhibition that engages in a scholarly dialogue with previously documented projection mapping exhibitions in sacred spaces.

A point cloud, a collection of spatially located points created using thousands of photographs, is converted to a mesh–a 3D model formed of many triangles.

Hung spent her summer developing a 3D printed prototype of the chapel’s transept vault using a combination of Autodesk’s modeling programs Meshmixer, Fusion360, and 3D Studio Max. She has worked in consultation with Professors Mark Olson and Ed Triplett, as well as with students and staff at the Colab, to create the scaled model with which she will develop her projection mapping prototype this fall.

The mesh is prepared for printing. Hung divided the transept into 4 sections for printing.

Through this projection mapping, Hung will tell the story of the design and construction of the chapel, bringing to light the work of Julian Abele through historical materials held in the University Archives.

Two models after successful printing in the Colab.




A Portrait of Venice Opens at the Nasher Museum of Art

September 7, 2017 — December 31, 2017
Nasher Museum of Art | Duke University

“A Portrait of Venice: Jacopo de’ Barbari’s View of 1500” opens at the Nasher Museum of Art September 7, 2017. Curated by Kristin L. Huffman, this exhibition is a research project that was developed in the Wired! Lab at Duke. The mural-sized first state woodcut print, on loan from the Minneapolis Institute of Art, is the gateway to a world of knowledge about Renaissance Venice and its place on the global stage. Huffman and a team of select students, multi-media analysts, and a postdoc at Duke, in collaboration with Visualizing Venice scholars at the University of Padua and the Correr Museum in Venice, developed seven interactive digital displays that connect the View to the origins of printmaking, the dissemination of knowledge in Early Modern Europe, principal sites in Venice, hidden treasures, and the city as a tourist destination for the 500 years since the time of de’ Barbari’s View. The exhibition will be on display through December 31, 2017. More information about the exhibition and about visiting the Nasher are available here.

Sta. Chiara Team in Barcelona

June 14, 2017

MA in Digital Art History graduate Lucas Giles presents the Sta. Chiara project in Barcelona. (Photo credit: Caroline Bruzelius)

The Duke/Naples/Padua collaborative team was recently invited by the Paisajes spirituales research group at the University of Barcelona to present their digital reconstruction of the choir screen at the church of Santa Chiara in Naples.  

At Santa Chiara, a convent church, the nuns were separated from the Franciscan community by a high wall penetrated by grates. The friars’ area, and the area of the royal tombs, were also separated by a monumental structure, a choir screen, that was destroyed in the late 16th century. Through digital reconstruction and visualization the team hoped to reimagine the division of space within the church that would have impacted individual experiences of sacred rituals. No images of the choir screen survive, so the team worked with Professor Leopoldo Repola at the Suor Orsola University in Naples to locate the choir screen’s foundations using ground-penetrating radar.

To create a highly detailed 3D point cloud of the church, the team collaborated with Dott.ssa Emanuela de Feo, from the University of Salerno, who had made a laser scan of the structure. The Duke team, which consisted of MA in Digital Art History graduate, Lucas Giles, and Professor Caroline Bruzelius, then worked closely with two architecture students from the University of Padua, Elisa Castagna and Andrea Basso, to construct a CAD model of the church and choir screen. The team used as evidence not only the GPR and laser scans, but also historical documentation of contemporary choir screens.

With the help of David Zielinski, the team later used Unity3D to create a life-sized experience of the choir screen’s effect within Santa Chiara’s interior in Duke’s Virtual Immersive Environment (DiVE). In a further continuation of the project, the team are now developing an app for mobile devices to visualize the model for church visitors. 

Members of the project team with their host. Left to right: Lucas Giles (Duke ’16), Elisa Castagna (Padua), Umberto Plaja (Duke ’10), Andrea Basso (Padua), Caroline Bruzelius (Duke), Nuria Jornet (University of Barcelona). (Photo credit: Caroline Bruzelius)

The project team presented their project to the community in Naples in Spring 2017.

A New Director for Wired!

The Wired! community is pleased to announce that Paul Jaskot is joining Duke as a Professor of Art History and Director of the Wired! Lab for digital art history & visual culture.

Photo Credit: DePaul University/Jeff Carrion

Jaskot was previously Professor of the History of Art and Architecture and Director of Studio χ at DePaul University. He specializes in the history of modern German architecture and art, with a particular interest in the political history of architecture before, during, and after the Nazi era. He has also published on Holocaust Studies topics more broadly, modern architecture including the history of Chicago architecture, methodological essays on Marxist art history, and diverse topics in Digital Art History. He has authored or edited several monographs and anthologies, including The Nazi Perpetrator: Postwar German Art and the Politics of the Right (University of Minnesota Press, 2012).


Paul has also been deeply involved in Digital Art History issues for the past decade, both as a scholar and as an advocate. In this role, he has been part of the Holocaust Geography Collaborative, an international team of scholars that has been exploring the use of GIS and other digital methods to analyze central problems in the history of the Holocaust, including issues rising from the built environment. He has worked most closely with Anne Kelly Knowles (University of Maine), co-authoring several presentations and essays with her, most recently as part of the anthology Geographies of the Holocaust (University of Indiana Press, 2014), the first volume on the use of GIS for the study of the Holocaust. This work has been funded by the National Science Foundation and the National Endowment for the Humanities, among other sources.

From Jaskot’s current mapping project, which examines patterns of commercial, governmental, and infrastructural building in western & Nazi-occupied Europe.

From 2008-2010, he was the President of the College Art Association (CAA). With CAA, he has also participated in various task forces promoting the support of and guidelines for Digital Art History and its professional evaluation. Paul and Anne also co-directed the Samuel  H. Kress Foundation Summer Institute on Digital Mapping and Art History.  He continues to be active with CAA and with the promotion of Digital Art History initiatives nationally.


As the Wired! community welcomes Paul Jaskot, we also bid farewell to Wired! Lab cofounder, champion, and Director, Caroline Bruzelius, who will be taking a sabbatical in 2017-18 before her retirement from Duke in summer 2018.


Caroline Bruzelius, Anne M. Cogan Professor of Art, Art History & Visual Studies, works on architecture, sculpture, and urbanism in the Middle Ages. She has published on French Gothic architecture (for example, the abbey church of St.-Denis and Notre Dame in Paris) as well as on medieval architecture in Italy, in particular Naples in the 13th and 14th centuries (in both English and Italian editions). She recently published a book on Franciscan and Dominican architecture, Preaching, Building and Burying. Friars in the Medieval City (Yale U. Press, 2014). Bruzelius has also published numerous articles on the architecture of medieval nuns and architectural enclosure, an area in which she did pioneering work. She has been awarded numerous grants and prizes, including grants from the Guggenheim Foundation, the National Endowment for the Humanities, the Max-Planck Institute (Hertziana Library), and the Fulbright Association. She is former Director of the American Academy in Rome, a Fellow of the American Academy of Arts and Sciences, and at the Medieval Academy.


Bruzelius has worked tirelessly with her colleagues to build a vibrant community engages digital technologies in art history and visual culture teaching and research. Beginning with the Wired! course in 2009, Bruzelius’ work in the lab has included the development of such projects as The Lives of Things and The Kingdom of Sicily Image Database. The lab has also seen her cultivation of international collaboration in the form of Visualizing Venice. Her digital art history courses have included extremely popular Gothic Cathedrals, The Mendicant Revolution, and Introduction to Art History: Mapping the Movement of Men & Materials, and others that have resulted in projects such as the Alife Arch App.

Bruzelius with the Alife Arch App student research team, spring 2017.

She also worked to found the MA track in Digital Art History, part of the new MA in Digital Art History/Computational Media. In this program, she most recently advised Lucas Giles, whose thesis formed part of an international collaborative research project that used laser scanning, ground-penetrating radar, 3D modeling, and virtual reality to explore the division of space and the mysteries of a destroyed choir screen in the medieval Sta. Chiara church in Naples.

A section of the Alife Arch, Nasher Museum of Art, Duke University.

While on sabbatical, Caroline Bruzelius will start a book, The Cathedral and the City, which explores the social, topographical and economic implications of the gigantic new cathedrals erected in the twelfth and thirteenth centuries.