Bibliographic record
Abstract
Artist Statement Edgar Arceneaux (bio) My drawings, sculptures, and installations address topics ranging from cultural conventions to urban blight. For the last several years, I have been making work in response to urban struggles in Detroit, Michigan. As the historic location of one of the largest race riots in this country, and more recently as a symbol of economic decline, Detroit serves as a focal point for understanding how macroscopic social and economic forces overwhelm and fundamentally change the lives of individual people. By drawing comparisons between this very specific location and historical time to earlier epochs of Western civilizations, my work forms historical connections between different moments that reveal truths about modern reality, attesting both to its transitional nature as to its primitive stage. [End Page 929] Click for larger view View full resolution Edgar Arceneaux, Blind Pig #6 (2011) Acrylic and graphite on paper (60” x 72”) Photographed by Robert Wedemeyer Courtesy of Susanne Vielmetter Los Angeles Projects Click for larger view View full resolution Edgar Arceneaux, American Natural History (2009) Acrylic and graphite on paper (60” x 91”) Photographed by Lutz Bertram Courtesy of Susanne Vielmetter Los Angeles Projects [End Page 930] Click for larger view View full resolution Edgar Arceneaux, Untitled (2004) Colored paper, tape, and pencil on frosted vellum (41 ½” x 42”) [End Page 931] Click for larger view View full resolution Edgar Arceneaux, Dragged Mass as Allegory (2009) Acrylic and graphite on paper (63” x 91”) Photographed by Lutz Bertram Courtesy of Susanne Vielmetter Los Angeles Projects [End Page 932] Edgar Arceneaux EDGAR ARCENEAUX, born in 1972, lives and works in Los Angeles, CA. In 1996, he received the BFA from Art Center College of Design, Pasadena, CA, and the MFA from California Institute of the Arts, Valencia, CA, in 2001, having also studied (2000-2001) at Fachhochschule Aachen, Aachen, Germany. Solo and group exhibitions of his work have appeared in museums, galleries, and other art venues in Berlin, Moscow, Detroit, New York, Paris, San Francisco, Oslo, Basel, London, Rotterdam, Prague, Los Angeles, Montréal, Edinburgh, Sydney, Warsaw, São Paulo, Tel Aviv, Chicago, Reykjavik, and many other major cities. He has received various forms of recognition for his work as an artist—e.g., REDCAT Award, REDCAT, Los Angeles, CA; the Rauschenberg Residency, Robert Rauschenberg Foundation, Captiva, FL; United States Artists Fellowship, United States Artists, Los Angeles, CA; Creative Capital Grant, New York, NY; Joyce Award, The Joyce Foundation, Chicago, IL; and the William H. Johnson Award, the William H. Johnson Foundation for the Arts, Los Angeles, CA. Jeffrey Kastner has asserted that Arceneaux’s “conceptual program uncovers meaning in unexpected adjacencies and sees beauty in tangential leaps. The artist’s practice takes advantage not only of his intellectual restlessness but also his wide-ranging technical adroitness, a mix of multidisciplinary skills—including drawing, photography, sculpture, and filmmaking—that figure into the unorthodox installation scenarios he has developed and refined over the last decade.” Copyright © 2014 The Johns Hopkins University Press
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 | 0.002 | 0.011 |
| Meta-epidemiology (narrow) | 0.002 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.004 | 0.003 |
| Science and technology studies | 0.004 | 0.001 |
| Scholarly communication | 0.010 | 0.004 |
| Open science | 0.002 | 0.004 |
| Research integrity | 0.003 | 0.003 |
| Insufficient payload (model declined to judge) | 0.726 | 0.487 |
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".