1,720,960 research outputs found
The first cut
No full textCatalogue of an exhibition held at the RMIT University Project Space/Spare Room gallery, 7-24 Mar. 2011.The First Cut is a participant of the 2011 L'Ore?al Melbourne Fashion Festival Cultural Program.Curated by Stephen Gallagher.Artists: Ricarda Bigolin, Winnie Ha, William Mackrell, Mark McDean, Antuong Nguyen, Liam Revell, Adele Varco
Artist as curator : The Printmaking Residency Exhibition 2012
No full textCatalogue of an exhibition held at the RMIT University Project Space / Spare Room gallery, Thursday 1 November to Thursday 8 November 2012.Jazmina Cininas, Richard Harding, Deborah Williams, Stephen Gallagher, Andrew Tetzlaff and Ruth Johnstone, each curator of a past Printmaker Residency exhibition, now returns as practitioner, framed by curatorial experience.Essay: Ruth Johnstone
The body : the Printmaking Summer Residency Exhibition 2007
No full textCatalogue of an exhibition held at Project Space/Spare Room, RMIT University, 26 November - 14 December 2007.Curator: Richard Harding.Artists: Alexandra Carroll, Antonietta Covino-Beehre, Steve Cox, Linda Erceg, Shane Jones, Deborah Klein, Damon Kowarsky
RMIT Project Space / Spare Room Gallery Collection
No full textThis collection comprises of print and electronic versions of catalogues related to exhibitions held in these two spaces between 2000-2018.
Australia's RMIT University is ranked 16th in the world for art and design, which positions it as the top art school in the country. The School of Art fosters innovative and diverse art practice and research within visual art, fine art, public art, and arts management
PROJECT SPACE is a gallery that links prominent exemplars of practice-based research with Melbourne’s creative communities through a dynamic program of contemporary art projects. Housed in RMIT University's Building 94, it runs a dynamic program of exhibitions and events from February to December.
SPARE ROOM is a gallery space adjacent to PROJECT SPACE in RMIT's Building 94. Both of these gallery programs are aligned such that exhibitions launch and run together and are often conceptually linked. SPARE ROOM acts as a small space for large ideas—it is a keyhole into a rich variety of potential conversations, from blue skies to deep dives
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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