1,720,959 research outputs found
Magdalena Jetelová dotýkání se spojů rovnoběžek plochy ohně, ohoblovanovanou hladinou vody, nassáváním prahévo úhlu, protnuté rovinou času ; new works made at the Henry Moore Sculpture Trust Studio ; Gate 1, Halifax, England, 25.10.-20.12.1991 and 15.1.-15.2.1992 ... ; Installation at Cornerhouse, Manchester, England, 28.9.-24.11.1991 = Magdalena Jetelová : finger-tips linking parallels of fire's plane, ground-down surface of the water's edge, inhalation of the right angle, streched by time's equanimity
No full textSix Years in Halifax: A Short History of the Henry Moore Studio, Dean Clough from 1986 to 1992.
Get PDFLooking back now over the course of my PhD study, which feels like it has been a
very long journey, it appears to me as a series of revolutions: that is, transformations
in my way of thinking (hard now to contemplate that I have come out the other end of
them) which completely changed my view, not just of my subject - the Henry Moore
Studio at Dean Clough - but the art world within which I was working, and the way I
wanted to write about it.
When I embarked on the study in 2016, I was working as a collections curator at
Leeds Art Gallery, based at the Henry Moore Institute. As the Institute is affiliated to
the Henry Moore Foundation, which is the parent body of the Henry Moore Studio, I
was – in theory - an insider to the project. In reality, the Studio had closed many years
before I arrived on the scene, and I had never met Robert Hopper or any of the core
group of people who worked there, so I came with little prior or special knowledge of
the organisation. However, that is not to say that I came to the project empty-handed.
Quite the opposite. As I see now (but only in retrospect), I was carrying around in my
head an encompassing view of the art world, which permeated my professional
practice. This did not relate to my work at the Institute or Leeds Art Gallery
specifically, but a career spent working in and around institutions: from my art
historical training (undertaken in a traditional university department), through several
years of curatorial practice, latterly within the framework of a municipal gallery and
specialist centre for the study of sculpture.
Essentially, my job at the time was to categorise, evaluate and document works of art;
then place them within the established canon of art history by displaying them in
thematic, chronological or genre-based configurations; and, initially, I intended to
explore the Henry Moore Studio in exactly this way. I wanted to define what it was,
then compare it with other similar art organisations and situate it within a particular
segment of art history, so that it could be better understood within my art world; and
possibly used to inform future practice. It was not that I felt this method would be best
particularly, but that I didn’t really know any other way.
From reading around the subject, I knew that the Henry Moore Studio had been a
making and exhibition project, which generated a series of large-scale projects, in
which the site was often a key element. Whilst the Studio had been funded by the
Henry Moore Foundation, I understood that it had been run on the ground by a group
of artists, based at Dean Clough, Halifax, under the leadership of Paul Bradley, who
had been highly instrumental in the first project by Giuseppe Penone and
subsequently managed most aspects of its programme. As a project operated by artists
for other artists, under the auspices of an institution, I attempted to sketch a lineage
for the Studio amongst artist-led initiatives, as they had evolved in the post-war
period, specifically from the 1960s to the 1980s
The cauldron Christine Borland, Angela Bulloch, Dinos and Jake Chapman, Steve Pippin, Georgina Starr, Gillian Wearing
No full textPublished on the occasion of the exhibition, 'The cauldron' at the Henry Moore Studio, Dean Clough, Halifax 31 May-4 August 1996SIGLEAvailable from British Library Document Supply Centre-DSC:98/28731 / BLDSC - British Library Document Supply CentreGBUnited Kingdo
Specific Objects
No full textThe research explores Donald Judd's concept of Specific Objects, and how the notion of singular
qualities, so essential to the concept, can be extended through the practice of sculpture. According
to Judd, unity can only be achieved in sculpture when its form is specific and has only one quality.
There must therefore be no apparent parts, no hierarchy and, therefore no relationships of parts. In
addition, Specific Objects rejects illusion. The sculptor Robert Morris further defined singular
qualities as those which predominantly distinguish 'good form', thereby positioning it within the
syntax of Gestalt psychology. Significant though Judd's sculptures are, few seem to conform to his
definition of Specific Objects because through his use of orthogonal geometry and contrast of
materials, many of his sculptures do indeed appear not only to be composed of parts, but actually
rely on the relationships between the parts. In addition, the contrast of opaque and transparent
surfaces, inevitably leads to illusion. Rather than follow Judd's use of orthogonal geometries from
parts of differing materials and colours, this research has investigated the potential of circular
geometry to create form of sculptural significance within Judd's strict definition of Specific Objects.
Key to this research has been what Rosalind Krauss described as the deflection of geometry, of
which there are two types: one is based on actual variations in physical geometry and the second
results from the illusory qualities of materials and surface finishes.
The studio investigations sought to ascertain to what extent the 'deflection of geometry'can
expand, but equally as importantly, maintain the viability of Judd's concept. In other words, the
challenge was to extend the possible range of geometries that posses the singular qualities
associated with Specific Objects; and in so doing provide an alternative response to the dilemma
posed by the concept; how to make unified forms with variation and sculptural significance.
The studio investigations were project based. Each project was directed by its aims and the resulting
studies evaluated through criteria in which unity and singular qualities were fundamental. A reductive approach to studio investigation led to two forms that conclude the research. The unified
geometry of the first is elliptical, although visual tension derives from the rotation of the internal
ellipse relative to its external counterpart, whereas the second form contains the implied division of
an internal figure of eight derivative within an elliptical exterior. Both forms were cast in
translucent resins to combine illusory and physical deflections of their geometry. By so doing, they
expand Judd's concept, by demonstrating the potential for implied duality and perceived variance to
exist within a singular, unified, and specific form
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
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