“We are pleased to announce that cultural organisations using Sketchfab can now dedicate their 3D scans and models to the Public Domain using the Creative Commons Public Domain Dedication (CC0). This newly supported dedication allows museums and similar organisations to share their 3D data more openly, adding amazing 3D models to the Public Domain, many for the first time. This update also makes it even easier for 3D creators to download and reuse, re-imagine, and remix incredible ancient and modern artifacts, objects, and scenes.
We are equally proud to make this announcement in collaboration with 27 cultural organisations from 13 different countries. We are especially happy to welcome the Smithsonian Institution to Sketchfab as part of this initiative. The Smithsonian has uploaded their first official 3D models to Sketchfab as part of their newly launched open access program….”
“In response to the COVID-19 pandemic and resulting lockdown, many museums have developed and put in place online digital offerings. Rebecca Kahn reflects on how museums and museum researchers have approached the digital exhibition as an opportunity for museums to communicate their research in new ways….”
“We write as the united museums, galleries, libraries and archives of the UK.
From famous international institutions to small, local collections, we areproud of our diverse and unique identities, that re?ect the di?erentcommunities whose stories we tell.But times like this, when digital access to culture is all we have, remind usthat our separate collections are also one, single, national collection: yourcollection.Earlier this year the Arts and Humanities Research Council, part of UKResearch & Innovation (UKRI), began a ?ve-year programme called ‘Towards aNational Collection’, whose goal is to help us, working with UK universities, tobring our collections together digitally in new and exciting ways. When thenational lockdown began that ambition overnight became even more urgentand important – unlocking the power of our collections not only as a vitalresource for research, but to bring beauty, education, inspiration and solaceinto all of our lives.Starting today, for the remainder of the lockdown and, we hope, far into thefuture, we are committing to work together online as never before tocelebrate the connections between us, to bring our treasures together infresh and surprising ways, and to shine a spotlight on some of the little-known wonders of our shared national collection….”
“Lockdowns and quarantines are essential to slowing the spread of Covid-19, but they are also understandably making some people a little stir-crazy. That’s why the British Museum announced a “major revamp” of its digital collection on Tuesday that included making nearly 1.9 million images free to use for anyone under a Creative Commons 4.0 license [CC-BY-NC-SA]….”
“The Musée du Louvre in Paris has reported a tenfold increase in web traffic, from 40,000 to 400,000 visitors per day. Visits to the websites of the National Gallery of Art in Washington and the Courtauld Institute of Art in London are also up by huge multiples. Audiences are seeking out arts material for children — the Metropolitan Museum of Art reports an elevenfold uptick to #MetKids, its youth education initiative. Remember just a decade ago, when the Met raised hackles, within and beyond its walls, for its ambitious digitization initiative, as if it were dangerous to offer more than 400,000 high-resolution, free-to-download images of the collection? No one’s saying that now….
The Rijksmuseum and the Walters, like more and more museums, offer these high-resolution images in “open access,” that is, with no copyright restrictions….”
“On February 7, 2017, The Met made all images of public-domain works in its collection available under Creative Commons Zero (CC0).
Whether you’re an artist or a designer, an educator or a student, a professional or a hobbyist, you now have more than 406,000 images of artworks from The Met collection to use, share, and remix—without restriction. This policy change to Open Access is an important statement about The Met’s commitment to increasing access to the collection in a digital age.
Read the FAQ page for more information on our Open Access program….”
Abstract: The PHAROS consortium of fourteen international art historical photo archives is digitizing the over 20 million images (with accompanying documentation) in its combined collections and has begun to construct a common access platform using Linked Open Data and the ResearchSpace software. In addition to resulting in a rich and substantial database of images for art-historical research, the PHAROS initiative supports the development of shared standards for mapping and sharing photo archive metadata, as well as for best practices for working with large digital image collections and conducting computational image analysis. Moreover, alongside their digitization efforts, PHAROS member institutions are considering the kinds of art-historical questions the resulting database of images could be used to research. This article indicates some of the prospective research directions stimulated by modern technologies, with the aim of exploring the epistemological potential of photographic archives and challenging the boundaries between the analogue and the digital.
“It’s hard to believe a year has passed since the Cleveland Museum of Art (CMA) launched its Open Access program. On January 23, 2019, the CMA released high-resolution images of all its public-domain artworks, as well as collections information (metadata) for more than 61,000 art objects — both those in the public domain and those with copyright restrictions — with the Creative Commons Zero (CC0) Public Domain Dedication. The museum’s director and president, William M. Griswold, offered remarks on the occasion that emphasized Open Access as an essential way to fulfill the museum’s mission in the 21st century. The CMA’s commitment to Open Access is ongoing. To the more than 31,000 images released at the launch, the museum added 258 artworks on January 1, 2020, and will do so every year going forward as works enter the public domain….”
“First trips to Paris all run the same risk: that of the museums consuming all of one’s time in the city. What those new to Paris need is a museum-going strategy, not that one size will fit all. Tailoring such a strategy to one’s own interests and pursuits requires a sense of each museum’s collection, something difficult to attain remotely before Paris Musées opened up its online collections portal….”