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"Art.sy is a new way to discover art you'll love, featuring work from leading galleries, museums, and private collections around the world. Art.sy is powered by The Art Genome Project, an ongoing study of the characteristics that distinguish and connect works of art. Art.sy evaluates artworks along 200+ characteristics-such as art-historical movements, subject matter, and formal qualities-to create a powerful search experience that reflects the multifaceted aspects of works of art.

This report describes the demographic characteristics of U.S. adults that participated in the arts (such as concerts, plays, and dance performances) via electronic media (e.g., TV, radio, computers and portable media devices) in 2008, based on the Survey of Public Participation in the Arts (SPPA). Separately, the report examines broad categories of arts participation via Internet. The report also investigates factors contributing to the likelihood of some Americans experiencing art through media. Finally, the report considers the relationship between media-based arts activities and other types of arts participation, such as live attendance and personal arts creation. June 2010. 146 pp.

Super, das ist ja ein toller und hilfreicher Report, danke fürs Aufspüren. ;-)

Department of Arts and Cultural Studies, Copenhagen: Conference: The role of the art museum has changed drastically during the past decades. So has the role of contemporary art within the art museum. Once institutions for preserving and producing knowledge for eternity, museums increasingly become arenas for experience and events of the moment.

The role of the art museum has changed drastically during the past decades. So has the role of contemporary art within the art museum. Once institutions for preserving and producing knowledge for eternity, museums increasingly become arenas for experience and events of the moment.

o one can have a "museum experience" without stepping foot in a museum. Let's just get that out of the way. It doesn't matter how digitally precise your online version of "The Forge of Vulcan" is, tilting your head to draw the light across the raised ridges of paint is not an electronically duplicable experience. That doesn't mean digital art collections don't have great value. After all, art books do. So here are half a dozen great digital art collections you can visit to inspire your own trip, or your own thinking about art, or to remind yourself or to learn a bit for no other reason than digital art is better by far than no art at all. In order to keep from wandering off the path never to be seen again, let's focus on Western painting.

Smarthistory.org is a free and open, not-for-profit, art history textbook. We use multimedia to deliver unscripted conversations between art historians about the history of art. We are seeking contributors-especially for canonical non-Western material and other survey topics not yet covered. We welcome comments, feedback and corrections.

Every day millions of Britons engage with the arts and cultural sector through digital media.1 This engagement comes in many forms and is in a constant state of evolution, driven by technological change. Five years ago, mobile phones were for texts and calls and Facebook barely existed. Today, a quarter of us have a smartphone through which we can listen to a song, or watch a trailer for an artistic performance.2 Over 40,000 people track the Royal Opera House, and over 58,000 the British Museum, through Facebook; while FACT in Liverpool has 7,000 Twitter followers.However, this research represents the first time that this online engagement with arts and culture in England has been captured and quantified

"Was ist art-tv.ch? art-tv.ch besteht seit 2004. Das Schweizer "Kulturfernsehen im Netz" hat sich zur wichtigsten audio-visuellen Kulturplattform unseres Landes entwickelt. Von der Rechtsform her gesehen, ist art-tv.ch ein nicht kommerzieller Verein, der sich die Kulturvermittlung im Internet mit kurzen Videobeiträgen zur Aufgabe gemacht hat."

Students developed a set of prototype smartphone apps for the Museum of Modern Art, based on a field study of museum visitors.

Students developed a set of prototype smartphone apps for the Museum of Modern Art, based on a field study of museum visitors. After synthesizing their research findings and developing a set of personas, the students began prototyping and testing their product concepts. Finally, they presented their concepts to a panel of representatives from the Museum of Modern Art. These presentations reflect the research and design methods used throughout the process.

The Timeline is a chronological, geographical, and thematic exploration of the history of art from around the world, as illustrated by the Museum's collection. It is an invaluable reference and research tool for students, educators, scholars, and anyone interested in the study of art history and related subjects. First launched in 2000, the Timeline extends from prehistory to the present day. The Museum's curators, conservators, and educators research and write the Timeline, that continues to expand in scope and depth and reflect the most up-to-date scholarship.

Last month, the Irvine Foundation put out a new report, Getting In On the Act, about participatory arts practice and new frameworks for audience engagement. Authors Alan Brown and Jennifer Novak-Leonard pack a lot into 40 pages--an argument for the rise of active arts engagement, a framework for thinking about ways to actively involve audiences, and lots of case studies. It is framed as a kind of study guide; pop-outs provide questions that tease out opportunities and tensions in the narrative. This report is not an end-all; it is the opening for a conversation.

Die Redaktion des Kraut-Magazin hat verschiedene Fotografen unserer neuen Ausstellung "State of the Art Photography" in einer ganz speziellen Art interviewt: Die Frage wurde wie gewohnt als Text gestellt, die Antwort darauf kam aber jeweils als Foto zurück. Diese Interviews veröffentlichen wir nun auch auf Twitter.Folgen Sie unserem Twitteraccount http://twitter.com/nrw_forum und dem Hashtag #twitview. Die Aktion beginnt morgens um 8 Uhr und läuft im Halbstundentakt den ganzen Tag über. Denn die Künstler haben auf 10 spannende Fragen mit ebenso vielen tollen Fotos geantwortet.

Here is a post to inform you of two conferences that will take place at the end of November and beginning of December, one in London, one in Paris. Both are organised by the Wikimedia Foundation in partnership with arts institutions who will be presenting and discussing their experiences on knowledge sharing and partnerships with Wikimedia in that regard. As structured organisations with a deep sense of hierarchy and copyright protection of their pieces and collections,  arts organisations tend to present themselves as essentially resisting these notions, although avid readers of Museum 2.0, Museum 3.0, and French speaking readers of Mixeum are fully aware that the picture of museums today on these issues is a fragmented one. 

When Jonathan Ross is helping with the kids' homework, when Jamie Oliver bakes, when any of my 75 closest pals have coffee, I know about it - instantly. Why? Because, like at least 100,000 Brits, I Twitter. I Twitter from bed before I get up; when I arrive at work; when something happens; when nothing happens. Once I chain-smoked, now I chain-Twitter.

I read with interest this week an article by Ruth Jamieson in The Guardian extolling the virtues of Twitter for us visual arts types. It largely confirmed what I've known for nearly a year now: Twitter is a great way to stay virtually connected with friends and professional contacts. It's fast, painless and has a Zen-like 140-character limit that disallows users from overwhelming other users with lengthy monologues.

Students developed a set of prototype smartphone apps for the Museum of Modern Art, based on a field study of museum visitors. After synthesizing their research findings and developing a set of personas, the students began prototyping and testing their product concepts. Finally, they presented their concepts to a panel of representatives from the Museum of Modern Art. These presentations reflect the research and design methods used throughout the process.

The Art Mobs: "A million artworks on Facebook. We will get there. Join us for inspiration, exclusive content, tutorials, and even the chance to win real original art for your own collection." " We started today!"

The ubiquity of mobile devices and the advent of augmented reality provide an opportunity to explore the use of interactive design in what is traditionally a difficult educational space: the art museum. The NGA Experience app (shown here on an iPhone but theoretically platform-agnostic) uses augmented reality to populate the art museum with a digital layer of content that is virtually infinite, yet completely optional for visitors. Such an application of AR in the museum ultimately provides a greater level of control and engagement to the museum visitor and enhances his or her opportunity for a meaningful experience without altering the physical space of the gallery.

SFMOMA Art Scope: visual browsing tool for the online colleciton

Housed in a landmark industrial building on the south bank of the River Tyne in Gateshead, BALTIC is a major international centre for contemporary art. BALTIC has no permanent collection, providing instead an ever-changing calendar of exhibitions and events that give a unique and compelling insight into contemporary artistic practice. BALTIC's dynamic, diverse and international programme ranges from blockbuster exhibitions to innovative new work and projects created by artists working within the local community.

Laurie Anderson sees a new online trend in the art world that has galleries and museums in a tailspin: the power of the Web to distribute art.