1,720,983 research outputs found
"Artist Writings: Critical Essays, Reception, and Conditions of Production since the 60s"
Get PDFThis dissertation uncovers the history of what is today generally accepted in the art world, that artists are also artist-writers. I analyse a shift from writing by artists as an ostensible aberration to artist writing as practice. My structuring methodology is assessing artist writings and their conditions and reception in their moment of production and in their singularity. In Part 1, I argue that, while the Abstract-Expressionist artist-writers were negatively received, a number of AbEx-inflected conditions influenced and made manifest the valuing of artist writings. I demonstrate that Donald Judd conceived of writing as stemming from the same methods and responsibilities of the artist — following the guiding principle that art comes from art, from taking into account developments of the recent past — and as an essayistic means to argumentatively air his extra-art concerns; that writing for Dan Graham was an art world right of entry; and that Robert Smithson treated words as primary substances in a way that complicates meaning in his articles and in his objects and earthworks, in the process introducing a modernist truth to materials that gave the writing cachet while also serving as the basis for its domestication. In chronicling the reception of these artists’ written production at the time of its writing, I conclude that writing that could be related to artists’ visual practices is what resonated in the late 60s. In Part 2, I explore Frank Bowling’s public deliberation on the relationship of black experience to modernist painting in Arts Magazine; Art & Language’s supposition that an editorial might count as art — arguing that it always already came up for the count as secondary-primary artist writing; female artist-writers’ disclosure of their art and writing in new feminist-founded magazines; and critics’ recognition of artist writings as a critical space. I conclude by proposing that the profusion of and demand for artist writings were constituted by the poststructuralist death of the author along with a persistent meaning-limiting author-function. This study confirms that critical engagement with writing by artists is a challenge: to viewers/readers, to art writers, and to artist-writers during the nascent era of artist writing.Ph
"Artist Writings: Critical Essays, Reception, and Conditions of Production since the 60s"
No full textThis dissertation uncovers the history of what is today generally accepted in the art world, that artists are also artist-writers. I analyse a shift from writing by artists as an ostensible aberration to artist writing as practice. My structuring methodology is assessing artist writings and their conditions and reception in their moment of production and in their singularity. In Part 1, I argue that, while the Abstract-Expressionist artist-writers were negatively received, a number of AbEx-inflected conditions influenced and made manifest the valuing of artist writings. I demonstrate that Donald Judd conceived of writing as stemming from the same methods and responsibilities of the artist — following the guiding principle that art comes from art, from taking into account developments of the recent past — and as an essayistic means to argumentatively air his extra-art concerns; that writing for Dan Graham was an art world right of entry; and that Robert Smithson treated words as primary substances in a way that complicates meaning in his articles and in his objects and earthworks, in the process introducing a modernist truth to materials that gave the writing cachet while also serving as the basis for its domestication. In chronicling the reception of these artists’ written production at the time of its writing, I conclude that writing that could be related to artists’ visual practices is what resonated in the late 60s. In Part 2, I explore Frank Bowling’s public deliberation on the relationship of black experience to modernist painting in Arts Magazine; Art & Language’s supposition that an editorial might count as art — arguing that it always already came up for the count as secondary-primary artist writing; female artist-writers’ disclosure of their art and writing in new feminist-founded magazines; and critics’ recognition of artist writings as a critical space. I conclude by proposing that the profusion of and demand for artist writings were constituted by the poststructuralist death of the author along with a persistent meaning-limiting author-function. This study confirms that critical engagement with writing by artists is a challenge: to viewers/readers, to art writers, and to artist-writers during the nascent era of artist writing.Ph
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
Public Art, Private Land: Settler Colonialism and Environment in New Deal Murals on the Great Plains
No full text“Public Art, Private Land: Settler Colonialism and Environment in New Deal Murals on the Great Plains” analyzes government-sponsored public art produced in the context of the Dust Bowl. While the national print media was dominated by images of environmental and economic disaster, the Treasury Department’s Section of Fine Arts (1934-1943) placed murals in post offices across the country to provide an uneasy population with a reassuring vision of America. This dissertation focuses on the Great Plains, a region defined by environmental disaster narratives and the celebratory recent histories of white settlement. While the land appeared to be rejecting settlers through drought and dust storms, muralists offered scenes of reassuring history and agricultural bounty. However, the Dust Bowl was but one symptom of the ongoing disaster of settler colonialism. Through four thematic chapters, I ask how these artworks functioned to shore up settler faith in the land during a period of environmental crisis. In Chapter One, I examine land claim murals, works that emphasized settler arrivals and European histories on the Plains. Chapter Two considers extinction narratives that were employed against Native peoples and bison as a means of further solidifying settler land claims. However, these murals are considered alongside cultural production from Native artists that refutes settler claims and asserts survivance against colonization. Chapter Three examines agricultural murals, arguing that while some depictions of bounty ignored the surrounding Dust Bowl, others directly engaged with symbols of disaster. Finally, Chapter Four posits that symbols of oil extraction became hopeful signs of modernity and wealth for communities characterized by the Dust Bowl. In each chapter, I situate murals in a wider visual landscape that includes the visual culture of preceding festivals, photographs and print media of the 1930s, and more recent examples of community public art. My analysis draws from the rich archive of the Section of Fine Arts and from the fields of ecocritical art history, environmental and labor history, and settler colonial studies to argue that post office murals on the Plains worked to both reflect and to shape a community’s land ethic.Ph.D.2022-11-30 00:00:0
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