Bibliographic record
Abstract
Over the past four decades, Martha Wilson has created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformations, and invasions of male and female personas. She began making videos and photo/text works in the early 1970s when she was working toward a PhD in English at Dalhousie University and teaching English at the Nova Scotia College of Art and Design, where, in a male-dominated conceptualist milieu, her work was not taken very seriously. Wilson further developed her performative and video-based practice after moving in 1974 to New York City. Two years later she founded Franklin Furnace, which she continues to direct, an artist-run center in Tribeca dedicated to the exploration and promotion of artists’ books, installation art, and video and performance art, an organization whose mission would be “to make the world safe for avant-garde art.” For the past 40 years, Franklin Furnace has championed art forms often neglected by mainstream arts institutions due to their ephemeral nature or politically unpopular content. Franklin Furnace’s mission to present, preserve, interpret, proselytize, and advocate on behalf of avant-garde and time-based visual art has been unwavering. Despite its notoriety, Franklin Furnace has maintained its original commitment to serving emerging artists; to assuming an aggressive pedagogical stance with regard to the value of avant-garde art to life; and to fostering artists’ zeal to broadcast ideas. Since its founding, Franklin Furnace’s activities have expanded to include artists’ books and periodicals, installation art, performance art, and other unforeseen contemporary avant-garde art forms. With founder and director Martha Wilson at the helm, Franklin Furnace is often considered an artwork in itself, encapsulating and continuing the spirit of experimentation and provocation particular to the New York art scene in the late 1970s and early 1980s. The organization’s archives contain rich source documents, such as artists’ correspondence, slide and b/w photographic images, press releases, announcement cards and posters, project proposals including resumes, drawings, video, and now, digital files.
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 distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.114 | 0.005 |
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; both teacher heads agree on what is shown here.
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".