Women in charge : artiste Inuit contemporanee : Inuit contemporary women artists : artistes Iunuit contemporaines
Bibliographic record
Abstract
The radical changes undergone by Inuit society in Arctic Canada during the period starting with the 'discovery' of contemporary art in 1948, the more frequent contacts with Canadian counterparts and the relocation of many Inuits in the cities of Quebec and Ontario, have brought more visibility to Inuit women and women artists in particular. In the last decade Canadian museums and galleries have devoted an increasing number of exhibitions - solo and collective ones, to Inuit women. Art is a relatively new means of expression for Inuit women. It exploded at the end of the 50s in the Cape Dorset area (Southwest of Baffin Island, on the Hudson Strait) with a large production in the graphic arts, drawings and especially prints. The women of Cape Dorset soon reached levels of excellence widely recognised. Inuit graphic art speaks eloquently in terms of gender, through a feminine lens which describes colours, clothing, daily activities but also difficulties encountered, traditions to be transmitted, the beauty that surfaces from the pale landscape (O. Leroux). Everyday experiences and memories are rooted in the terrain of 'traditional' societies and the familiarity with the new, estranging urban habitat: the works of the Cape Dorset artists speak openly to the viewer bringing him in contact with their worries and aspirations. The exhibition will be held at Istituto Nazionale per la Grafica n Calcografia, Rome from April-May 2011. The artists presented in this exhibition of Inuit women artists - the first of this kind to be held in Italy - belong to different generations. Works by Piteseolak Ashoona, Napachie Pootogook, Annie Pootogook, Shuvinai Ashoona, Siassie Kenneally and Ningeokuluk Teevee are illustrated and commented. Text in English, French & Italian.
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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 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.048 | 0.009 |
| Scholarly communication | 0.012 | 0.005 |
| Open science | 0.002 | 0.009 |
| Research integrity | 0.003 | 0.005 |
| Insufficient payload (model declined to judge) | 0.023 | 0.002 |
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".