Under a grant from the Northwest Academic Computer Consortium, I have begun posting various publications and lectures on this web site. I support the increasingly common practice by which scholars are making available on the Internet their published articles (otherwise often available only in specialized journals) and lectures (often unpublished) and by which teachers are making widely available material for student projects and independent study. More importantly, however, this web site is intended to demonstrate the benefits of providing more large, high quality color images than can normally be afforded in print publication, whatever the subject. For all discipines that depend on images as evidence, the possibility of making available over the Internet a sufficient number of high quality images of a subject for in-depth study by students and teachers opens up immense new possibilities for education at all levels. (See, for example, the article "Student Evaluation of the Usefulness of Computer Images in Art History and Related Disciplines," listed below).

Articles are here republished with the approval of the original publishers. All images on this web site derive from 35mm slides that I have taken in the normal process of research and teaching. They may be used freeely for non-profit educational purposes. All other uses must have the written permission of the relevant artists, owners, and publishers, and of the photographer and Reed College. Images provided through links to other web sites are copyrighted by the publishers of those sites.

HTML coding for these publications and lectures is being carried out by Heather Humble, a Reed student, with support from the Culpeper Foundation. My work with digital images has been supported by grants from the Andrew W. Mellon Foundation, the Charles E. Culpeper Foundation, and by the multifaceted support of Reed College.

Theory and Practice of Conservation

2003

“Themes, Approaches, Issues, and Questions,” in History of Restoration of Ancient Stone Sculpture: Papers delivered at a Symposium Organized by the Departments of Antiquities and Antiquities Conservation of the J. Paul Getty Museum held at the Museum 25-27 October 2001. Ed. Janet Burnett Grossman, Jerry Podany, and Marion True. Los Angeles: J. Paul Getty Museum, 2003. Pp. 265-270.

2003

“Recent Approaches to the Conservation of Northwest Coast Totem Poles,” in Zeitschrift für Kunsttechnologie und Konservierung (17 Jahrgang 2003, Heft 1), pp. 179-184. Paper given at the Thirtieth International Congress of the History of Art, London, 3-8 September, 2000.

2002

"Review of Chris Caple's Conservation Skills: Judgement, Method and Decision Making, London and New York: Routledge, 2000," reviewed in Conservation and Management of Archaeological Sites, Vol. 5, No. 3 (2002), pp. 185-187.

2000

"Changing Approaches to the Conservation of Northwest Coast Totem Poles," in Tradition and Innovation: Advances in Conservation. Contribitions to the Melbourne Congress, 10- 14 October 2000. London: International Institute for Conservation of Historic and Artistic Works, 2000. Pp. 155- 160, color plates 7.1-7.4.

1999

"Digital Images and the Technical Study of Art," paper given in the session "Technical Examinaton and the Practice of Art History," annual meeting of the College Art Association, Los Angeles, February 1999.

1998

" The Potential of Museum Web Sites for Art Conservation and Historic Preservation," paper given at annual Museums & the Web Conference, Toronto, April 1998.

1995

"The First International Document for Cultural Diversity in Conservation: The Document of Nara," paper given at annual meeting of the American Institute for Conservation, St. Paul, MN., June 1995. Based on a seminar conducted at the Getty Conservation Institute, 1995.

1995

"Cultural Diversity and Conservation," keynote address given at a symposium at the J. Paul Getty Museum, Malibu, CA., June 1995.

1993

"The System of Conservation Training in the U.S.A.", in technologia artis 3 (Prague: Archives of Art Technology, 1993), pp. 15-17. A shortened version of a paper, "Education for Conservation - An International Awakening," given at an international symposium on The Technology of Works of Art of the Central European Region and the Czech School of Restoration, organized by the Association of Restorers, Prague, The Czech Republik.

1991

"Why Study Technique? - A Review of the Past Ten Years," paper given at the Annual Meeting of the Association of Art Historians of Great Britain, held at the Courtauld Institute of Art, London.

to top

John Constable

2006

"The Remarkable Story of the 'Six-Foot Sketches'", in Constable: The Great Landscapes, ed. Anne Lyles. Tate Publishing, London, 2006. Pp. 40-49, endnotes p.202.
If your computer cannot read pdf documents, click here.

1994

"Intentionality in Constable's Full-Size Sketch for The White Horse", paper given jointly with Michael Swicklik, paintings conservator, National Gallery of Art, Washington, DC, at the annual meeting of the American Institute for Conservation of Historic and Historic Works, Nashville, Tennessee.

1994

"Deaccessioning John Constable: The Complexity of Authenticity," paper given in a session on authenticity at the annual meeting of the College Art Association, New York City.

1990

"Constable's First Two Six-foot Landscapes," in Studies in the History of Art, Vol.24.Washington: National Gallery of Art, 1990. Pp.109-129 and color pl.2.

1990

"Changes in the Appearance of Paintings by John Constable," in Appearance, Opinion, Change: Evaluating the Look of Paintings. London: The United Kingdom Institute for Conservation, 1990. Pp. 72-84.
If your computer cannot read pdf documents, click here.

1990

John Constable: Toward a Complete Chronology. Portland, OR: Published by the author, 1990. A 206 page chronology indexing all dated references to Constable during his life.
THIS IS A LARGE DOCUMENT AND MAY TAKE A LONG TIME TO APPEAR.
If your computer cannot read pdf documents, click here.

1990

A Proposal for the Creation of Comprehensive Archives of Information on the Working Procedure of Individual Artists and on the Visual Appearance and Physical Character of Their Art: A Trial Study, John Constable. Portland, OR: Published by the author, 1990 (originally compiled in 1984 for a colloquium at the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washignton, DC, and distributed as "The History of Technique: John Constable, A Trial Study").
THIS IS A LARGE DOCUMENT AND MAY TAKE A LONG TIME TO APPEAR.
If your computer cannot read pdf documents, click here.

to top

Northwest Coast American Indian Art

2003

“Recent Approaches to the Conservation of Northwest Coast Totem Poles,” in Zeitschrift für Kunsttechnologie und Konservierung (17 Jahrgang 2003, Heft 1), pp. 179-184. Paper given at the Thirtieth International Congress of the History of Art, London, 3-8 September, 2000.

2000

"Changing Approaches to the Conservation of Northwest Coast Totem Poles," in Tradition and Innovation: Advances in Conservation. Contribitions to the Melbourne Congress, 10- 14 October 2000. London: International Institute for Conservation of Historic and Artistic Works, 2000. Pp.155- 160, color plates 7.1-7.4.

1998

Expanding the Circle: The Art of guud san glans, Robert Davidson. Portland, Oregon: Douglas F. Cooley Memorial Art Gallery, Reed College, 1998 (69 page catalogue, 37 color illustrations).

1997

"Changing Approaches to the Conservation of Northwest Coast Totem Poles," paper given at the annual meeting of the College Art Association, New York, February 1997 (abstract published in the abstracts volume by the CAA, New York, 1997).

1996

"A Proposal for a Comprehensive Database for Northwest Coast Totem Poles," paper given jointly with conservator Andrew Todd, at the annual meeting of the Canadian Museums Association, Vancouver, BC, June 1996.

1994

"The Complexity of Cultural Identity in Northwest Coast Native American Art," paper given at the World Archaeological Congress, New Dehli, India.

to top