1,721,109 research outputs found
Helen Chadwick : Effluvia
No full text" This exhibition presented a selection of work by Helen Chadwick, one of Britain’s most prominent and provocative artists. Staged just two years before her untimely death, the exhibition explored Chadwick’s work from the previous five years, including Cacao, a large bubbling chocolate fountain, specially made for the Serpentine Gallery. " -- Publisher's website
Helen Chadwick, Maggi Hambling, Ian McKeever (Artists in residence)
No full textArtists in residence :Helen Chadwick, Maggi Hambling, Ian McKeever.
Introduced and moderated by Leslie Green
Stilleben. Kroppens liv mellem natur og kultur. Helen Chadwick i feministisk perspektiv
No full textrepræsentation af krop, Helen Chadwick, feministisk kuns
Helen Chadwick: The Oval Court
No full textBook synopsis: In 1986 the Institute of Contemporary Arts in London showed a new commission by the artist Helen Chadwick (1954–1996). The installation interwove some of Chadwick’s characteristic motifs – the female body (her own), the aesthetics of pleasure, the material variety and wonder of natural phenomena – and approached them in a spirit of provocative, radical and lavish flamboyance. In this illustrated volume, Marina Warner examines The Oval Court, one part of the diptych On Mutability. This complex work was erotic, playful, and fierce; it showed imaginative ambition on an exceptional scale and a unique, piquant sensibility, both raunchy and delicate.
Despite the work’s recognition as a feminist monument of rare intensity, The Oval Court has rarely been shown or discussed since the original exhibition, where Carcass the other part of the installation, was destroyed. Warner wrote for the catalogue then, and she here reconsiders Chadwick’s influence as an artist who helped to shift conventional aesthetics and transvalue despised, even abominated forms. Revealing the expansive assortment of historical references informing Chadwick’s lexicon – from Renaissance emblems and vanitas paintings to the sumptuously decorative language of rococo – Warner illuminates the artist’s relentless pursuit of a fresh iconography of female subjectivity. The ideas and ethics behind Chadwick’s visionary and daring art reveal powerful prescience on her part and resonate today more than ever – from her celebratory and interrogatory search for a visual language to express female desire to her inquiries into hermaphroditism and non-binary forms, from her fascination with self-portraiture to her continuous experimentation with unconventional materials
Helen Chadwick : a critical catalogue raisonné
No full textThis thesis presents a 'critical catalogue raisonne' of Helen Chadwick's oeuvre created over two decades between the mid•i970s and her death in 1996 and is the defined outcome a collaborative research project based on the artist's archive deposited at the Henry Moore Institute. The thesis examines the significance of the archive, and of the role of archiving. as part of Chadwick's self-critical art practice, and in the historical construction of the artist Helen Chadwick, in now being available as a research resource. Analytical readings of two early works provide an example of how the archive can be used in writing a history of Chadwick's practice and how it opens different ways of knowing the artist. The studies of the installations Domestic Sanitation (1973~76) and Ego Geometria Sum (1982~84) reveal the evolution of self-reflexive, Research-led practices that extend the concept of a finite artwork. Chadwick's focus on the body and the politics of embodiment are explored through analysis of preparatory material, intermediary works and her documentation of performative practices in the process of researching and creating the works. The final staging of the works as complex installations is also examined in detail. The catalogue raisonne in volume two provides a fully researched chronological timeline of Chadwick's oeuvre with two extended entries or 'dossiers' relating to the works featured in the case studies. These chart the evolution of each project, through the. presentation of archive material in order to further illuminate the processes of research and realisationEThOS - Electronic Theses Online ServiceGBUnited Kingdo
The feminine in contemporary art: representation and contamination in the work of Helen Chadwick, Michèle Roberts and Helena Almeida
Full text linkTese de doutoramento em Ciências da Literatura (área de especialização em Literatura Comparada)Taking contamination and liminality as central methodological and theoretical
metaphors, this thesis investigates the strategies through which contemporary women artists,
in particular Helen Chadwick, Michèle Roberts and Helena Almeida, represent the female
body and subjective female experiences, and place their work vis-à-vis the art and literary
tradition. The intention has been to discuss these women’s work within their cultural and
historical context and, therefore, to explore the interaction existing between the social, the
subjective and the aesthetic through specific instances of visual and literary representation.
The research has followed an interartistic or intermedial approach and contaminated
such methodology with the insights provided by feminist criticism, specifically on the
literary and visual representation of the feminine and on gender politics. Through this
methodology the thesis discusses how Helen Chadwick, Michèle Roberts and Helena
Almeida have articulated similar responses to a set of issues raised by phallocentrism and its
representation of the feminine. Furthermore, it argues that such similarities are the result of
their subject position as women (and women artists), who not only have negotiated with the
problems arising from the inscription of sexual difference in the socio-cultural domain in
general and the literary and visual fields in particular, but also experienced the profound
impact generated by the feminist engagement with and revision of that same sexual
difference. The main conclusions are that Chadwick, Roberts and Almeida participate in ‘another’
literary and visual tradition, created by women, and one that has subverted the
dominant norms and hierarchies regarding female subjectivity and its representation. In the
work under consideration, such subversion is visible both at the thematic level (through their
engagement with topics such as self-representation, maternity, the domestic sphere and the
abject body) and in formal ways (by embracing hybrid formats and innovative media). In
addition, it manifests an interest in dialogism and contamination processes (sacred/ profane,
abject/ beautiful, private/ public, self/ other), in clear opposition to phallocentric binarism. On the one hand, by bringing together Chadwick, Roberts and Almeida, this thesis
ultimately intends to debate the sexual difference implicated in their work and,
consequently, draw attention to the parallelism that is possible to be established between
women artists and writers who began exhibiting and publishing in the late 1960s and in the
1970s, both in Portugal and in England. On the other hand, given that a politics of location is
an important notion for this doctorate project, this also aims to produce a situational analysis
of the women and the work in question. Indeed, Chadwick and Roberts (who were born in
culturally hybrid families) and Almeida (whose work is placed between a dictatorial and
deeply patriarchal past and a democratic present) lead us to engage with a politics of
location and with the concomitant juxtaposition of the terms ‘identity’ and ‘difference’.Assumindo a contaminação e a liminaridade como metáforas metodológicas e
teóricas centrais deste projecto de doutoramento, pretende-se investigar as estratégias de que
se servem artistas contemporâneas, em particular Helen Chadwick, Michèle Roberts e
Helena Almeida, na representação do corpo feminino e de experiências femininas
subjectivas, bem como no seu relacionamento com a tradição artística e literária. Pretende-se
ainda analisar o trabalho destas mulheres no seu contexto histórico e cultural, de forma a
explorar a interacção existente entre o social, o subjectivo e o estético através de instâncias
de representação visual e literária específicas.
A investigação assumiu uma abordagem interartística ou intermedial e contaminou
tal metodologia com as teorias desenvolvidas pela crítica feminista, especificamente aquelas
relativas à representação literária e visual do feminino, bem como à política de género.
Através desta metodologia, procura-se debater a forma como Helen Chadwick, Michèle
Roberts e Helena Almeida articulam respostas semelhantes a uma série de questões
motivadas por uma cultura falocêntrica e a sua representação do feminino. Adicionalmente,
defende-se que essa semelhança resulta da sua posição enquanto mulheres (e mulheresartistas),
que não só reflectem os problemas resultantes da inscrição da diferença sexual no
domínio socio-cultural em geral e nas artes visuais e literatura em particular, mas também o
profundo impacto gerado pela discussão e revisão feministas dessa mesma diferença sexual. As conclusões centrais desta tese são que Chadwick, Roberts e Almeida participam
em uma ‘outra’ tradição literária e visual feita a partir do feminino, que tem subvertido
normas e hierarquias dominantes, referentes ao sujeito feminino e sua representação. No
caso do trabalho das artistas em questão, essa subversão verifica-se quer a nível temático
(com a exploração de temas como a auto-representação, a maternidade, a esfera do
doméstico e o corpo abjecto), quer a nível formal (no favorecimento de formas híbridas e
media inovadores), e frequentemente evidencia um interesse no dialógico e em processos de
contaminação (sagrado/ profano, abjecto/ belo, privado/ público, eu/ outro), em clara
oposição ao binarismo falocêntrico. Por um lado, ao relacionar Chadwick, Roberts e Almeida, esta tese pretende debater
a diferença sexual inerente ao trabalho destas mulheres e, consequentemente, chamar a
atenção para o paralelismo passível de ser estabelecido entre escritoras e artistas plásticas
que começaram a publicar e a exibir nos finais da década de 60 e nos anos 70 do século XX,
tanto em Portugal como em Inglaterra. Por outro lado, dado que a política de localização é
uma noção cara a este projecto de doutoramento, este também segue uma análise situacional
das três artistas, bem como do seu trabalho. De facto, Chadwick e Roberts (que descendem
de famílias culturalmente híbridas) e Almeida (cujo trabalho se situa entre um passado
ditatorial e profundamente patriarcal e um presente democrático) obrigam-nos a pensar em
uma política de localização e na concomitante justaposição dos termos ‘identidade’ e
‘diferença’
Helen Chadwick
No full textTitle from unverified data provided by the Bain News Service on the negatives or caption cards.Forms part of: George Grantham Bain Collection (Library of Congress).General information about the Bain Collection is available at http://hdl.loc.gov/loc.pnp/pp.ggbai
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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