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Art Criticism
No full textAnalog Original: v. ; 22 cm.If Art Criticism meets some of its editors’ hopes for it, we shall be able to claim the appearance of some art criticism, with subjects arising from the writers’ or editors’ decisions, rather than the art market’s. Articles on individual critics and on current groups and tendencies will lead towards the adequate history of art criticism so badly needed in relation to art and in relation to the literature of other disciplines. (L.A., D.B.K., Spring 1979)Archived web contentThis record was updated April 2013 by digitization and project advisers, Stephen Larese and Roland CoffeyDepartment of Art, Stony Brook University; Stony Brook University LibrariesYngvason, Hafthor, “Schiele, Michelangelo, and the Allegory of the Cave.”
Cone, Michele, “Suspicious Unheimlich’ and Ambivalence in the Appropriation Strategy of Anselm Kiefer.”
Wiens, Ann, “Abject of My Desire.”
Biro, Matthew, “Art Criticism and Deconstruction: Rosalind Krauss and Jacques Derrida.”
Tumasonis, Elizabeth, “Böcklin’s Reputation: Its Rise and Fall.”
Kuspit, Donald, B., “A Psychoanalytic Understanding of Aesthetic Disinterestedness.
The "new woman" in fin-de-siécle art: Frances and Margaret MacDonald
Full text linkScottish artists Margaret and Frances Macdonald
produced their most innovative art during the last decade of
the nineteenth century. They received their training at the
Glasgow School of Art and became known for their
contribution to "the Glasgow Style," Scotland's answer to
Continental Art nouveau and Symbolism. Although they
inherited their visual vocabulary from the male-dominated
language of the fin-de-siècle, they produced representations
of women that differed from those made by their male
colleagues. I suggest that these representations were
informed by the female experience and that they must be
understood as such if we, as historians, are to discuss
their art. Like many other women artists from this period,
the Macdonalds relied heavily upon so-called feminine
imagery. This could be flower painting, "dainty"
landscapes, pictures of children or pictures of "lovely"
women. The Macdonalds strayed from conventional meaning,
however, and made pictures of women that, while retaining
the mystery of symbolism, presented the viewer with
contextually accurate representations of women who were
bound and restricted by a society that had not yet allowed
women the vote. I suggest that these representations be
considered in the light of recent theoretical developments
in feminist literary criticism and feminist film theory
which give credence to women as producers of culture while remaining
aware that culture is a patriarchal construction. My contention is
that if we can comprehend the patriarchal construct of woman during
the fin-de-siècle then we may be able to understand how the
Macdonalds (and other women like them) strayed from this
representation and made their own images (perhaps in their own
likeness or at least in the likeness of their situation). Knowledge
about how women's experience was integrated into the visual language
may lead us to a greater understanding of that experience and its
subsequent production as art and, in addition, may bring about a
greater valuation of women's experience and its representation.Graduat
The elusive self : storytelling and the journey to identity in Sveva Caetani's autobiographical series "Recapitulation"
Full text linkCanadian artist Sveva Caetani was born in Rome in 191 7 and emigrated to Canada in
192 1 with her parents, Leone Caetani and Ofelia Fabiani. The family settled in Vernon,
B.C. where Caetani was to remain until her death in 1994. Between the years of 1975
and 1992, Caetani produced a series of 56 watercolour paintings entitled Recapitulation
that recounts the story of her life. Drawing on Dante's Divine Comedy as a model for
the overarching format of the series, Caetani adopts the role of a pilgrim on a spiritual
journey. Just as Dante called on Virgil to act as his guide, Caetani calls on her father to
accompany her on her personal journey. By establishing a voice that bears witness to the
tragic circumstances of her life, Sveva Caetani reconnects with her past in order to alter
the shape of memory. The evidence Caetani offers is her own life and the country of her
imagination; the extraordinary life of a woman and the separate life as a writerlartist.
She draws us into personal memory and family history, weaving autobiography into
analysis
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
Klinger’s Christ on Olympus: The Confrontation between Christianity and Paganism
No full textEntre 1890 et 1897, l’artiste allemand Max Klinger peignait le Christ sur le mont Olympe, son oeuvre la plus considérable et la plus ambitieuse. Elle représentait le Christ et les quatre vertus cardinales apparaissant devant Zeus et les dieux olympiens. La critique récente autant que la critique de l’époque ont interprété l’oeuvre de diverses façons et au moins un critique du temps l’avait vu comme la célébration du triomphe de la Chrétienté sur le paganisme, mais une relecture du contexte suggère autre chose. Une longue lignée d’écrivains allemands, comprenant Goethe, Schiller, Heine et plus particulièrement Nietzsche, ont vu le Christianisme comme une religion “mortifère” qui avait détruit la sensualité naturelle et l’amour de la vie, caractéristiques des Anciens. Comme de nombreux intellectuels de l’époque, Klinger admirait Nietzsche. Un examen approfondi du tableau et des oeuvres qui s’y rattachent laisse croire que Klinger voyait son tableau comme une allégorie nietzschéenne, rejetant la culpabilité chrétienne liée au corps et affirmant de nouveau la sensualité physique. Les oeuvres de Klinger reflètent cette idée d’une association entre l’antiquité classique et la liberté sexuelle, idée largement partagée par de nombreux artistes symbolistes allemands à la fin du siècle. À travers ce thème, ces artistes désiraient se libérer des conventions morales et esthétiques de leur temps
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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