2,538 research outputs found
'A good time to be a woman'?: women artists, feminism and Tate Modern
No full textUnlike many of its comparator institutions, for example the Museum of Modern Art in New York and the Centre Pompidou in Paris, Tate Modern in London has not hosted an explicitly feminist exhibition or collections programme. This essay asks whether feminism has influenced Tate Modern at all. The essay identifies and evaluates different methodologies for interpreting the gender politics of a museum collection, and extends its evalution to temporary exhibitions, matters of display and other mechanisms of interpretation. The essay applies the results of the methodological discussion to the specific example of Tate Modern since its opening in 2000, considering the actual collection but focussing chiefly on temporary exhibitions (including the high-profile Turbine Hall Commissions), displays of the permanent collection, wall texts and other interpretive material that are examined through evidence acquired during site visits and consultation of archival material. The final part of the essay develops a theme raised in the book's introduction, the influence of neo-liberalism in the museum sector and the evolution of a fundamentally commercial relationship between museum and audience, to reflect on the gender-political implications of Tate Modern's popularizing the museum through the explicit use of the 'high street' as a model
Lara Perry, Angela Dimitrakaki (eds.), "Politics in a Glass Case. Feminism, Exhibition Cultures, and Curatorial Transgressions"
No full textCompte-rendu publié dans la revue Culture & Musées de l'ouvrage de Lara Perry et Angela Dimitrakaki (Liverpool University Press, 2012)
How to be seen: an introduction to feminist politics, exhibition cultures and curatorial transgressions
No full textThis is an introduction to an edited book, and develops insights that arise from the new research collected in the book as well as a critical reading of feminist literature on contemporary art practice and museum studies. One of the defining features of this introduction (and the whole book) is that it eschews the categorization of feminist criticism/practice into questions of 'generation' or 'geography' which has dominated accounts of feminism and art since the 1990s, and instead identifies a series of problems that have structured engagements between feminism and art exhibition across time and space. The text suggests that we should analyse exhibitions as instances of encounters between feminists and institutions; and/or as an aspect of feminist practice that has tried to realize a particular and distinctive form of exhibition; and/or as a dynamic of 'othering' that calls the one (and the other) into existence through the curatorial process. A defining and original feature of the introduction is its insistence on exploring all of these questions in the context of economic history of this period (rather than the more established frameworks for feminist enquiry of cultural history or psychoanalysis) as a principal feature of this are of study which concerns art, life and labour
Making a modern museum: experience, interpretation, and the National Portrait Gallery in the new millennium
No full textChatGPT-Based Learning And Reading Assistant (C-LARA): Second Report
No full textChatGPT-based Learning And Reading Assistant (C-LARA – pronounced “Clara”) is an AIbasedplatform which allows users to create multimodal texts designed to improve reading skillsin second languages. GPT-4/ChatGPT-4 is central to the project: as well as being the corelanguage processing component, it has in collaboration with a human partner developed thegreater part of the codebase.Following on from the initial progress report, released in July 2023, we focus on new workcarried out during the period August 2023 – March 2024. The platform is far more usable. CLARAis now packaged with a wizard-style interface (“Simple C-LARA”) that allows the nonexpertuser to create a complete illustrated multimodal text by entering a prompt and approvingdefault choices a few times, and the software is deployed on a fast dedicated server maintained bythe University of South Australia. Other substantial new pieces of functionality are support for“phonetic texts”, where words are automatically divided up into units associated with phoneticvalues; “reading histories”, which support the combination of several texts into a single virtualdocument; and the social network, rudimentary in the first version, which now includes supportfor friending, an update feed, and email alerts.To investigate the AI’s abilities as a language processor, we present an experiment where wecreated six texts for each of five languages, using the same prompts for each language, andevaluated the accuracy of the language processing. We also give the results when some of theexperiments were repeated five months later with a newer version of GPT-4, in the case ofEnglish revealing a dramatic reduction in error rates. A small questionnaire-based study probesusers’ subjective views of C-LARA projects they have created: in general, people are pleasedwith the results, to the extent that they are often sharing them.With regard to GPT-4/ChatGPT-4’s software engineer role, we present a breakdown of thevarious modules and functionalities, indicating the AI’s contribution. It is capable of writing thesimpler modules on its own or with minimal human assistance, and only had serious problemswith a small number of top-level functionalities, in particular “Simple C-LARA”, which directlyor indirectly involved most of the codebase.We describe initial use cases, including trialling of C-LARA in a school classroom, integratingit into the experimental CALL platform Basm, and creating multimodal texts in the Oceaniclanguages Drehu and Iaai. A short section summarises our policy on ethical issues concerningthe crediting of the AI as an author. The appendices present examples illustrating use of theSimple C-LARA and Advanced C-LARA versions of the platform, list functionalities and codefiles, and reproduce conversations with the AI about various aspects of the project
Letter from The Dominguez Estate Company to Mr. B. Lara, November 24, 1943
No full textInforming Mr. Lara of the change in acreage on his lease with an attached statement
Facing femininities : women in the National Portrait Gallery, 1856-1899.
Full text linkSIGLEAvailable from British Library Document Supply Centre-DSC:DXN029234 / BLDSC - British Library Document Supply CentreGBUnited Kingdo
Feminism and Art History Now: Radical Critiques of Theory and Practice
No full textTo what extent have developments in global politics, artworld institutions, and local cultures reshaped the critical directions of feminist art historians? The significant new research gathered here engages with the rich inheritance of feminist historiography since around 1970, and considers how to maintain the forcefulness of its critique while addressing contemporary political struggles. Taking on subjects that reflect the museological, global and materialist trajectories of twenty-first-century art historical scholarship, the chapters address the themes of Invisibility, Temporality, Spatiality and Storytelling. They present new research on a diversity of topics that span political movements in Italy, urban gentrification in New York, community art projects in Scotland and Canada's contemporary indigenous culture. Individual chapter analyses focus on the art of Lee Krasner, The Emily Davison Lodge, Zoe Leonard, Martha Rosler, Carla Lonzi and Womanhouse. Together with a synthesising introductory essay, these studies provide readers with a view of feminist art histories of the past, present and future
Does Lara Croft Ware Fake Polygons
Full text linkAn analysis of the role of gender in the 1996 video game, Tomb Raider , using multiple theoretical approaches to discuss issues of gender roles and gender identity. The author argues that prior to Tomb Raider, popular games revolved around a male protagonist, but with the introduction of Lara Croft, the gaming world has changed. The article explores the implications of the female protagonist in Tomb Raider, characterizing Lara Croft as a techno-puppet to the male-gaze, a drag queen, a dominatrix, and a powerful feminist role model. Artistic and creative game patches provide an “opportunity for feminists to influence the formation of new computer game gender configurations”
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