1,721,037 research outputs found
Carmengloria Morales: An Abstraction of Withdrawal
No full textThis chapter focuses on the Chilean painter Carmengloria Morales (b.1942) and the importance of the debates she encountered in Rome in the 1960s on the subsequent development of her career. Morales is the only woman associated with Italian Analytical Painting movement of the mid 1970s, as well as an inaugural participant in the New York Radical Painting group of the 1980s. In the winter of 1969 in her studio in via Montoro in Rome, she developed her first Dittico (or diptych). These remarkable paintings reposition abstract painting as a conceptual and material practice. In doing so she abandoned her previous bright, colourful and relational formalist paintings, and started to develop a more extreme, reduced, and radical understanding of abstraction. The development of the Ditticos is intrinsically linked to the experience that Morales encountered in Rome, and her perception of the status and politics associated with abstract painting at the time. I suggest that these experiences were shaped through her joint friendships with the American artist Maricia Hafif (1929-2018) and the Sicilian painter Carla Accardi (1924-2014). Through a close reading of specific works, I demonstrate how these three pioneering artists shared vocabularies and ideas, even after Morales and Hafif had left Rome, and how aspects of Hafif’s own subsequent development, and her desire to “begin again” mirrors that of Morales
Really out of order: Robyn Denny, Jane Harris, Gerard Hemsworth, Richard Kirwan, Kenneth Martin, Neil Misrahi, Jeremy Moon, Bridget Riley, Yinka Shonibare, Michael Stubbs, Daniel Sturgis, Mady Ure
No full textIntroduction
No full textRome became a vibrant cultural centre in the postwar period and was a popular destination for abstract artists from around the world, many of them women. As this Introduction shows, these women artists working with abstraction came to Rome from different places around the world, not only the US and the UK, but also Turkey, Brazil, and former Yugoslavia. Given that they stayed in the city for various periods of time, travel is taken as the shared characteristic of this “affective community” of women artists, allowing for the inclusion of women artists and critics from Rome who also travelled to study, or develop their work, in the same period. As they outline here, this approach allows the editors to produce a focused study of a previously under-researched group of women artists, which developed distinct approaches to working with abstraction and formed an important transnational network for the exchange of artistic ideas on a global scale in the period between the 1940s and 1970s
Liz Arnold
No full textA retrospective of work by Liz Arnold, who died in 2001, held at Camden
Arts Centre, London
Bauhaus: Utopia in Crisis
No full textCurated by Professor Daniel Sturgis. Artists: Juan Bolivar, David Diao, Liam Gillick, Maria Laet, Andrea Medjesi-Jones, Ad Minoliti, Sadie Murdoch, Judith Raum, Helen Robertson, Eva Sajovic, SAVVY Contemporary, Schroeter und Berger, Alexis Teplin, Ian Whittlesea.
Bauhaus: Utopia in Crisis explored how contemporary practitioners have been drawn to the social, utopian and transgressive aspects of Bauhaus history. The exhibition at Camberwell Space was part of the UAL: OurHaus festival, which Sturgis convened to coincide with Bauhaus 100, the international celebration of the famous Bauhaus design school’s centenary. The diverse collection of artworks presented in this exhibition investigated the ways in which artists today are reframing the Bauhaus’s modernist legacy as one which includes political and subjective resistance. As such, Bauhaus: Utopia in Crisis addressed how artistic legacies intersect with contemporary concerns through understanding that the Bauhaus was a complicated interweaving of different positions and personalities and never a truly unified project
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
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe 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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