1,721,563 research outputs found
Concrete Poetry: from the Procedural to the Performative
Full text linkPublished in conjunction with Black Dog Publishing, UK, this richly illustrated book includes critical essays on concrete poetry and Michael Morris, featuring a chronology of Morris’s prolific practice from the mid-1960s onwards. It follows the 2012 exhibition of the same name that was held at the Belkin Art Gallery, which focused on a series of large-scale paintings with inserted mirrors that Morris made in 1969 — his last paintings until the early 1980s — brought together at the Belkin for the first time since then. The Belkin’s show presented the paintings in the context of contemporaneous examples of concrete poetry, a practice that had influenced Morris and catalyzed his move into other forms of art making such as sculpture, photography and performance, examples of which were also represented in the exhibition. This book focuses on Morris’s activity in the late 1960s and his “last paintings,” in an attempt to restore them to an art historical context.final article publishe
Letters : Michael Morris and Concrete Poetry
No full text"Letters profiles Canadian artist Michael Morris during the period between 1964 and 1971 with a particular focus on his relationship with concrete poetry, considered to be among the first global art movements, springing up in South and North America, Japan and Europe." -- Publisher's website
Oral history interview with Michael Morris
No full textMichael Morris, a faculty member at the Oklahoma State University (OSU) Spears School of Business, discusses his role in establishing the Creativity and Innovation Institute and the School of Entrepreneurship. He describes his early education and how it influenced his work in economics and entrepreneurship. Morris also discusses the Creativity Initiative at OSU, his innovative approach and the future of small business.The O-STATE Stories Oral History collection is comprised of interviews which chronicle the rich history, heritage, and traditions of Oklahoma State University
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A New Southern Strategy of Multigroup Oppression: A Response to Standard White by Michael Morris
Full text linkBuilding on a recent review essay by Michael Morris, Delgado and Stefancic show how conservative strategists marshal regional animus against Latinos to improve GOP electoral prospects and set one minority group against another to the detriment of both.</p
Emma Bond & Michael Morris (eds.), Scotland’s Transnational Heritage: Legacies of Empire and Slavery
Full text linkThis edited volume by Emma Bond and Michael Morris originates from the works of the “Transnational Scotland: Reconnecting Heritage Stories through Museum Object Collections” network that ran between 2019 and 2020. Funded by the Royal Society of Edinburgh and set up by the two editors, this network gathered professionals from a group of Scottish museums who wished to start a conversation on the imperial legacy of Scotland. The avowed purpose was to explore the nation’s role within global netw..
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
Real likenesses: representation in paintings, photographs, and novels
No full textReal Likenesses presents a radical new approach to artistic representation. At its heart is a serious reconsideration of the relationship between medium and content in representational art, which counters current dominant theories that make attention to the former inevitably a distraction from attending to the latter. Through close analysis of paintings, photographs, and novels, Michael Morris proposes a new understanding of the real likenesses we encounter in representational art; what they are, how they are made present to us, and how they are created. The result is an intuitive way of thinking about how these art forms work
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Real likenesses: representation in paintings, photographs, and novels
No full textReal Likenesses presents a radical new approach to artistic representation. At its heart is a serious reconsideration of the relationship between medium and content in representational art, which counters current dominant theories that make attention to the former inevitably a distraction from attending to the latter. Through close analysis of paintings, photographs, and novels, Michael Morris proposes a new understanding of the real likenesses we encounter in representational art; what they are, how they are made present to us, and how they are created. The result is an intuitive way of thinking about how these art forms work
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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