The social and the real : political art of the 1930s in the western hemisphere
Bibliographic record
Abstract
During 1930s, American artists, such as Ben Shahn, developed a mode of representation generally known as Social Realism. This term is given broad new meaning in anthology brought together by Alejandro Anreus, Diana Linden, and Jonathan Weinberg. They and their collaborators argue that artists of Depression era believed that their art became realistic by engaging great economic and political issues of society. Through fresh investigation of visual culture of 1930s - painting, sculpture, photography, and graphic arts - anthology illuminates struggle for social justice that led artists to embrace leftist ideologies, and fashion an art aimed at revealing harsh realities of contemporary life. In sharp contrast to earlier studies, Social and Real contends that radical, realistic art of Americas during 1930s was shaped as much by hemispheric exchange as by emulation of European avant-garde. Alan Trachtenberg, Mary K. Coffey, and book's other essayists consider Canadian art alongside art from United States, Caribbean, and as far south as Argentina. Some of artists they discuss, like Philip Evergood or Dorothea Lange, are well known; others - Argentinean Antonio Berni or Canadian Paraskeva Clark - deserve wider recognition. Situating such artists within context of Pan-American exchange transforms structure of art-historical field. It also produces major new insights. The rise of Social Realism, for instance, is traced back not to United States in 1930s, but instead to Mexico of early 1920s. Social and Real makes an assessment of Social Realism that is comprehensive as well as ground-breaking. The opening essays deal with reality and authenticity in representations of the nation. Subsequent essays consider portrayals of manhood, labor, lynching, and people pushed to margins of society because of religious or ethnic identity. The volume concludes with a pair of essays - one on artists' links with Communism, other on portrayal of Franklin Delano Roosevelt's physical infirmity - that carry discussion of Social Realism into postwar period.
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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 | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.012 | 0.013 |
| Scholarly communication | 0.009 | 0.002 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.005 | 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 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".