Maus, Toys and Him: Contemporary Fine Art as a Reflection on the Reception of History
Bibliographic record
Abstract
In November 2003, Chris Dercon introduced himself as the new director of the House of Fine Arts, Haus der Kunst, in Munich by encouraging the Canadian collector, Ydessa Hendeles, to mount her first exhibition in Germany. By staying in the background as a curator, Dercon provided a sophisticated answer to the question of how he might come to terms with the building’s heritage. Constructed between 1933 and 1937, the former ‘Haus der Deutschen Kunst’ was not only the first representative building project of the Third Reich, but also hosted several exhibitions that shaped the aesthetics and ideology of National Socialism; most notably, the ‘Große Deutsche Kunstausstellung’ that took place annually between 1937 and 1944, as well as the ‘Entartete Kunst’ exhibition that was put on view in the nearby Hofgarten in 1937. As the original architecture has been preserved, the Haus der Kunst stands as a permanent memorial to National Socialist displays of power, and also imposes a specific historical framework on every art exhibition that takes place in it. By inviting Ydessa Hendeles both to present her collection and to curate an exhibition, Chris Dercon managed to satisfy public expectations that the building’s history would have to be addressed. His choice for Hendeles gave space for the exhibition Partners that aimed at tracing history in contemporary art, in general, and particularly reflected the tradition of Modern art and Avant-Garde that the Third Reich had defined as ‘Entartete Kunst’. But it also affirmed the habitual manner of making a connection between art and biography. These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.004 | 0.005 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.003 | 0.002 |
| Science and technology studies | 0.049 | 0.042 |
| Scholarly communication | 0.016 | 0.008 |
| Open science | 0.002 | 0.009 |
| Research integrity | 0.005 | 0.008 |
| Insufficient payload (model declined to judge) | 0.012 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".