Bibliographic record
Abstract
Written for the exhibition catalogue of Detroit-born, Toronto-based artist Suzy Lake artist, ‘Standing her Ground’ considers the artist’s career-long exploration of gender, ageing, and identity. It ranges from Lake’s performance and self-portraiture works of the early 1970s, with which she first reached international attention, to late career depictions of herself that contest the invisibility and denigration of the ageing female body. Highlighting how Lake approaches the camera as a witness to staged events, the essay underscores the playfulness of her conceptual approach, along with its formal experimentation. It considers themes that have recurred throughout her practice – from subjectivity’s embodied realm, to identity’s construction through interpellation and repeat performance, and the nature of the picture and the frame. It also discuses some aspects of her art that have been overlooked, including her collaboration from 1988-1992 with the Teme-Augama Anishnabai Band of Bear Island, Northern Ontario, in support of their struggle for land rights. Reflecting on the time-lag that it took for Lake’s art to receive widespread attention, the essay compares the criticisms that Lake faced, of narcissism and exhibitionism in her self-portraiture works, with that meted out to male artist contemporaries who also made art with their bodies. While male artists' activities were regarded as universal, the essay argues, Lake’s seemingly could only be read through the lens of gender. Developing this feminist focus, the essay discusses the key role played by feminist art professionals and curators in contributing to the resurgence of interest in Lake’s wake that followed her Inclusion in the major survey exhibition WACK! Art and the Feminist Revolution in 2007.
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 | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.006 | 0.002 |
| Scholarly communication | 0.004 | 0.002 |
| Open science | 0.000 | 0.003 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.104 | 0.014 |
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".