1,720,976 research outputs found
Euan Macleod : glacial
No full textCatalogue of an exhibition held at the Watters Gallery, 7 - 24 July 2010
James Gleeson : Eden adjusted by climate change : an exhibition of new paintings
No full textCatalogue of an exhibition held at Watters Gallery, East Sydney, 18 October - 11 November 2006
James Gleeson : an epiphany's aftermath : an exhibition of paintings and works on paper
No full textCatalogue of an exhibition held at Watters Gallery, 25 July - 18 August 2007.Essay: Geoffrey Legge
James Clifford : figuration
No full textCatalogue of exhibition held at the Watters Gallery, 31 July - 17 Aug. 1991.Includes bibliographical references
Mike Brown, 1938-1997 : paintings from the estate
No full textCatalogue of an exhibition held at Watters Gallery, East Sydney, 24 April - 18 May, 2002 and Charles Nodrum Gallery, Richmond, Vic., 4-22 June, 2002
Bartlett, Dall'Ava, Pryor : recent sculpture
No full textCatalogue from an exhibition held at Watters, March 1978
A Big Donor 2002, Blockhouse 2002, China Developing Missiles 2000, Hearing Chamber 2002, Pentagon Primate 2002, Power Wedge 2002, Red Soldier Monument 2002, Red Tower 2002, Red Wall 2002, Signs Upon Walls (Happy Days) 2002, Signs Upon Walls (Star Wars 2) 2002, Walls Upon Walls (Pink) 2002, Walls Upon Walls (Red) 2002
Get PDFThere is a long tradition of art that seeks to address distinctly political concerns, particularly with respect to the military and the relationship between civilian and military cultures. Due to the closed nature of most totalitarian regimes, there is little direct interaction with, or understanding of, military institutions This research has focused on the potential of a collaborative framework with a military regime - the Peoples Liberation Army (PLA).
Working with a colonel from the PLA, Ian Howard's A Bridge too Far series investigates the ideological tension of a working process between two artists with similar interests yet hugely divergent backgrounds. The tradition of frottage, with rubbings of military vehicles, trains, boats, and tanks, is used to explore social, historical, and political territory. The intersection of two poles of political art - that from the western tradition which takes on a critical tenor, and the parallel tradition of social realism - enables a strategy by which to critically investigate the notion of political regimes.
The significance of the series A Bridge too Far is attested to by its exhibition in the show A Bridge too Far at Watters Gallery, Sydney, NSW. The show was favourably reviewed by John McDonald, Sydney's most prominent art critic
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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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