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Tracks: Allyson Mitchell, Radical Craft
No full textThis article is a brief interview with the important emerging Canadian lesbian feminist artist Allyson Mitchell
Allyson Mitchell: Artist, Utopianist, Lesbian Feminist
No full textThis short piece discusses the recent work of Canadian artist Allyson Mitchell
My Fuzzy Valentine: Allyson Mitchell
No full textThe article focuses on the work of Toronto artist Allyson Mitchell, which Reckitt describes as oscillating between tones of celebration and loss, humour and revolt. Reckitt focuses on Mitchell’s 2005 exhibition Lady Sasquatch, discussing how Mitchell uses 1970s and 1980s era Playboy magazine imagery to perform “reverse airbrushing” which aims to overturn the typical flow of appropriation. Fostering a feminist spirit of self-acceptance, through her art Mitchell encourages women to treat their bodies with warmth instead of viewing them as objects to be published. Her art produces unlikely kinships between soft core pornography and second-hand textiles and craft objects, based on their shared denigrated cultural status. Embracing kitsch Canadian tropes and markers of identity inspired by the "natural" world, Mitchell’s art suggests that the simultaneous human love and fear of nature might parallel social attitudes towards sexual and racial others. With her concept of Deep Lez, Mitchell posits radical feminism as an endangered species. At the same time she updates lesbian feminism as a contemporary movement of radical inclusivity.
The article contextualises Lady Sasquatch with other examples of Mitchell’s work. It discusses her autobiographically-inspired experimental and animated films, her film collaborations with Christina Zeidler, and her fat activist performance interventions with Pretty Porky and Pissed off. It relates her art to that of earlier female and feminist artists, including Joyce Wieland's experimental films and craft-based objects, Joyce Kozloff’s Pornament is Crime watercolours, Ghada Amer’s embroidered canvases, and the recruitment tactics of Dyke Action Machine and The Lesbian Avengers
Not at the beginning and not at the end: A Conversation among Deidre Logue, Allyson Mitchell and Helena Reckitt
Full text linkA conversation about feminist and queer curatorial and artistic practice between artists Deidre Logue and Allyson Mitchell, who together founded and run the Feminist Art Gallery (FAG) in Toronto, and Helena Reckitt, a curator with a longstanding interest in legacies of queer and feminist engagements with art and theory. The contributors start by focusing on the role of art history and criticism in constructing genealogies of queer and feminist art, what these scholarly and critical activities uncover or obscure, and the contributions of artists in furthering knowledges of these histories. Taking a more pragmatic turn, the discussion moves to Logue and Mitchell’s work founding and running FAG. Defining FAG as a feminist, not a women’s, art project, they clarify how the gallery, and related activities such as the Feminist Art Collection (FAC), are equally engaged with gender, race, class and ability. Contributors highlight queer and feminist curatorial and artistic projects from the past that have influenced their practices. In considering a range of earlier projects, they discuss tactics including breaking art historical rules, appropriating non-queer art within a queer frame, drawing attention to processes of historical invisibility and exclusion, engaging with erotic artistic content, and creating experimental and interactive exhibition formats. The authors end by discussing the implications of FAG being housed in a domestic space, and their strategy of accepting an invitation on behalf of FAG and “fagging it forward” to someone else who would benefit from the opportunity
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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