Ellen Prokop, Associate Photoarchivist. “Discoveries in the Photoarchive.” Photoarchive Department blog (http://www.frick.org/research/photoarchive/discoveries), 2012-present.
Louisa Wood Ruby, Head, Photoarchive Research, “Pictures Chiefly Painted in Oils, on Boards.” In Holland's Golden Age in America: Collecting the Art of Rembrandt, Vermeer, and Hals, edited by Esmée Quodbach, 20-31. New York: The Frick Collection, and University Park, Pennsylvania: The Pennsylvania State University Press, 2014.
Louisa Wood Ruby, “The Work of Art in the Age of Mechanical Reproduction and Beyond.” In The Artefact and its Representations. Nuremberg: Comité International d’Histoire de l’Art, 2014.
Inge Reist, Director of the Center for the History of Collecting, “Photograph Archives and Scholarship: Past, Present, and Future.” In Photo Archives and the Photographic Memory of Art History, edited by Costanza Caraffa, 381–88. Berlin: Deutscher Kunstverlag, 2011.
Ellen Prokop, “.” The New York Art Resources Consortium (NYARC) website. Posted on October 4, 2010.
Louisa Wood Ruby, “Layers of Seeing and Seeing in Layers: The Work of Art in the Age of Digital Imagery.” Journal of Aesthetic Education 42, 2 (Summer 2008): 51–56.
Louisa Wood Ruby, “The Montias Database of Sixteenth- and Seventeenth-Century Inventories of Dutch Art Collections.” In In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias, edited by Amy Golahny, Mia Mochizuki, and Lisa Vergara, 395–402. Amsterdam: Amsterdam University Press, 2006.
Inge Reist, “The Frick Photoarchive: A Treasury of Unpublished Images of Works of Art.” The Frick Collection Members' Magazine 3, 3 (Fall 2003): 9–11.
Inge Reist, “Three Drawings by Edgar Degas: A Research Challenge for the Frick Art Reference Library.” The Frick Collection Members' Magazine 2, 2 (Spring/Summer 2002): 8–9.
Inge Reist, “The Frick Art Reference Library Helps Solve Provenance Research Mysteries.” The Frick Collection Members' Magazine 1, 2 (Spring/Summer 2001): 12–13.
Inge Reist, “Provenance Research Tools.” IFAR Journal 3, 3–4 (2000): 23–31.
Inge Reist, “The Changing Role of the Librarian—Publishing and Producing: Spanish Art from the Fourth to the Twentieth Century: A Critical Dictionary.” Bulletin of the Visual Resources Association XXV (Summer 1998): 81–84.
Hermano, Maria Alessandra L., and Inge Reist, eds. Spanish Artists from the Fourth to the Twentieth Century: A Critical Dictionary. New York: G. K. Hall, 4 vols., 1993–96.
Ellen Prokop, “The El Greco Project: Exploring the Artist’s Oeuvre and Collecting History Through Digital Technologies,” Sixteenth Century Society and Conference, Bruges, Belgium (2016).
Louisa Wood Ruby, Head of Photoarchive Research, “Research Strategies for Building Documentation for a Catalogue Raisonné,” The Catalogue Raisonné and Its Construction, Catalogue Raisonné Scholars Association, Museum of Modern Art, New York (2015).
Ellen Prokop, Associate Photoarchivist, and Benjamin Zweig, “Visualizing ‘Big Data’: Thinking Through Best Practices and the Role of Art Historical Research Centers,” NORDIK 2015: Mapping Uncharted Territories, The 11th Triannual Nordik Committee for Art History Conference, Reykjavík (2015).
Ellen Prokop, “The Discovery of a Modern Old Master: Mapping El Greco’s Collecting History,” Visual Geographies: Reconceptualizing the Terrain of Art History with Historical GIS, Association of American Geographers, Chicago (2015).
Louisa Wood Ruby, “A Match Made in Heaven: Photoarchives and Authors of Catalogues Raisonné” for the workshop session “The Monograph with Catalogue Raisonné: A Dying Breed?”, Historians of Netherlandish Art Conference, Boston (2014).
Ellen Prokop, “The Frick Art Reference Library: A Case Study,” Wikipedia’s Role in Four Different Types of Librarianship, WikiConference USA 2014, New York Law School, New York (2014).
Ellen Prokop, “Collecting Spanish Art, 1750–1800,” American Society for Eighteenth-Century Studies, Cleveland (2013).
Lily Pregill, New York Art Research Consortium Project Coordinator & Systems Manager, “Thinking Outside the Box: Migrating the Frick's Photoarchive Collection into Arcade.” Art Libraries Society of North America Conference, Toronto (2012).
Louisa Wood Ruby, “The Work of Art in the Age of Mechanical Reproduction and Beyond.” The Artefact and its Representations: the Vanishing Original in a Virtual Age, Comité International d'Histoire de l'Art Conference, Nuremberg (2012).
Inge Reist, Director of the Center for the History of Collecting, “Picturing the Future: Private Collections and Public Institutions.” Art Libraries Society of North America Session: Collaboration, Access, Sustainability: The Future of Image Research Collections, College Art Association Annual Conference, Los Angeles (2012).
Inge Reist, “Rinascimento: New Online Digital Resources from the Reali and Sansoni Photographic Archives.” Italian Painting, Renaissance Society of America Conference, Washington D.C. (2012).
Louisa Wood Ruby, “If Paintings Could Only Speak: Photoarchives as Aids to the Technical Study of Works of Art.” Intentional Alterations, Sixteenth Century Society Conference, Houston (2011).
Inge Reist, “Roundtable: The Future of Photoarchives.” Photo Archives and the Photographic Memory of Art History, Part 1: Courtauld Institute of Art, London; Part 2: Kunsthistorisches Institut in Florenz—Max-Planck-Institut, Florence (2009).
Louisa Wood Ruby, “Collecting Dutch Art in Colonial America.” Holland's Golden Age in America: Collecting the Art of Rembrandt, Vermeer, and Hals, Symposium, Center for the History of Collecting in America, The Frick Collection, New York (2009).
Louisa Wood Ruby, “Preserving Early America through Photography: The Frick Art Reference Library's Photography Campaigns to Collections of Early American Art.” Collecting and Preserving Early America Symposium, Worcester Museum of Art, Worcester (2008).
Inge Reist, “Sir Robert's Godchild: The Frick Art Reference Library Photoarchive.” Fototeche a Regola d’Arte; Giornate di Studio, sponsored by the CERR of the Comune di Siena and Fototeca Briganti, Siena (2007).
Inge Reist, “El proceso de localización y devolución de los bienes incautados a los judíos.” Expolios artísticos en Occidente. El patrimonio sevillano irredento (1810–1813), sponsored by the Universidad Internacional Menéndez Pelayo, Seville (2007).