Kimathi Donkor: Some Clarity of Vision
Notice bibliographique
Résumé
1. For Moses had married an Ethiopian woman (Numbers 12:1), (Oil and Acrylic on canvas, 165 x 210 cm, 2015) 2. When shall we 3? (Scenes from the life of Njinga Mbandi)(Oil and Acrylic on Canvas, 120 x 150 cm, 2015) 3. St. Iphigenia and St. Matthew (Oil and Acrylic on Canvas 120 x 149.5 cm, 2015) 4. You will not always have me (Oil and Acrylic on Canvas 90 x 120cm, 2015) 5. You will not always have me (Oil and Acrylic on Canvas 90 x 120cm, 2015) 6. The Venice Mechanism (Oil, Acrylic, Wood, and Staples on Canvas 100 x 80 cm, 2015) 7. The Nkisi Aura, (Oil, Acrylic, Wood, and Staples on Canvas 50 x 60 cm, 2015) 8. Oshun visits Gaba at Tate's 'Big House' (Oil on Canvas, 76 x 106 cm, 2013) 9. London visitation of Nanny of the Maroons, (oil on Canvas, 170 x 140 cm, 2013) 10. Harriet Tubman en route to Canada, (Oil on Canvas, 210 x 165 cm, 2012) 11. Resist (oil, acrylic, wood, staples, coins and charcoal on Canvas, 120 x 100 cm, 2008) 12. Analyse, (oil, acrylic, wood, staples, coins and charcoal on canvas, 120 x 150 cm, 2008) 13. Notebook IX (watercolour and graphite on paper, 31 x 23cm, 2014) 14. Notebook XI (watercolour and graphite on paper, 31 x 23cm, 2013) 15. Notebook XII (watercolour and graphite on paper, 32 x 24 cm, 2013) Following a two-month onsite residency, the new and recent works listed above were exhibited in the solo exhibition 'Kimathi Donkor: Some Clarity of Vision' at Gallery MOMO in Johannesburg, South Africa from 8th September until 12th October, 2015. Below is the text from the press release and gallery pamphlet. "Black goddesses, heroines, queens and saints have been the inspiration for many of Kimathi Donkor's paintings. And, after researching how these subjects have been depicted in literature and art, he invited contemporary, black women from Africa and its Diasporas to model for scenes that re-imagine the adventures, encounters and spirit of their celebrated forebears. Donkor intends his realistic portraits to convey the beauty and grace of his models as well as the strength and grandeur of the historical characters which they embody. Consequently, much of his practice is devoted to crafting meticulously the faces, gestures and expressions of the figures which populate his images. Each work contemplates a single moment drawn from an epic narrative and Donkor plays freely with the constraints of time and location, frequently displacing his figures into a contemporary, 21st Century context. In one recent, monumental painting (which, the artist made entirely in South Africa) the biblical, black wife of the prophet Moses seems to anticipate happily her impending exodus to the promised land - while the grim towers of the infamous Marikana mine stand ominously on the golden horizon behind her. Such compelling fusions of symbolism, portraiture, landscape and appropriation have produced a unique approach to painting that is simultaneously celebratory but provocative, as well as being visually accessible and intellectually engaging." Works 1-5 and 13-15 were first exhibited in this exhibition. Works no 6 & 7 were first exhibited at the Notting Hill Gate Theatre, London in 2015. Works no 8 & 9 were first exhibited at Peckham Space, London in 2013. Works no 9 & 10 were first exhibited at Rivington Place, London in 2012, works no 11 & 12 were first exhibited at the Market Place Theatre Gallery, Armagh, N Ireland in 2008.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,003 | 0,007 |
| Méta-épidémiologie (sens strict) | 0,002 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,011 | 0,003 |
| Communication savante | 0,009 | 0,010 |
| Science ouverte | 0,002 | 0,006 |
| Intégrité de la recherche | 0,005 | 0,010 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,131 | 0,056 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».