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Abstract
This article responds to two issues affecting the field of contemporary art
history: digital technology and the so-called computational turn in the humanities. It is divided into two parts: the first connects problems with “digital art history,” an offspring of digital humanities, to neoliberal metrics; the second suggests how digital art history’s“distant reading” might nevertheless be deployed critically in the analysis of contemporary art.
DOI: https://doi.org/10.11588/dah.2018.3.49915
Author
Claire Bishop
is Professor in the PhD Program in Art History at the Graduate Center, City University of New York.