Bibliographic record
Abstract
The basic premise of this article is that despite the many representations of mothers in the history of art, the maternal image has almost invariably been presented in the status of object, i.e., a reflection of the value system, interests, and perspective of the patriarchal culture, and not of the mother herself. This study examines the construction of the maternal ideal in western, particularly Israeli, culture, and suggests the turning point over the past twenty years as contemporary artist-mothers (mama’artists) have undermined this ideal. To avoid the traditional structure into which the mother has been relegated, the article adopts the matricentric perspective of Canadian scholar Andrea O’Reilly, who places the mother at the center of feminist discourse. With the understanding that the category mother intersects with, but is distinct from, the category woman, art scholarship must formulate more valid narratives. This paper has two goals. One is to examine how matricentric research can contribute to analysis of the work of artist-mothers. The second is to identify the tools in art that enable expression of the political-maternal subjectivity. The methodology proceeds from these goals, and includes the voice of the artist, her personal story, and her perspective as she creates an imagined art world. These were obtained by studio meetings with the artist, personal interviews, and a gender analysis of the art. The video series under study was created between 2005 and 2015 by Mali De-Kalo, an Israeli mother-artist. The research revealed an original, thought-provoking, and ironic artistic reaction with dramatic theater-of-the-absurd elements that reflect her critique of the mechanisms of construction and replication of the social order and its expectations of the Israeli mother. De-Kalo represents a new spirit in Israeli art –a contemporary artist in courageous defiance of the social norm that casts the mother as object; she depicts in her art a political-maternal subject who exposes and opposes patriarchal power in the social and artistic realms.
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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) | 0.000 | 0.000 |
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 teacher head, 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".