Angle of Vision: The Frangenberg donation to Wolfson College, Cambridge: Artists' Edition [Exhibition catalogue]
Bibliographic record
Abstract
This book commemorates the donation to Wolfson College, Cambridge, of the majority of the remarkable art collection formed by my late colleague, Dr Thomas Frangenberg (1957– 2018) [Fig. 1], by Thomas’s executors, his brother Andreas and sister-in-law Rita. Thomas bequeathed some notable works to Tate and donations were also made to municipal galleries in Leeds, Manchester, Coventry and elsewhere. However, these bequests comprised less than a quarter of the collection. Approximately 750 works have come to Wolfson. It is a varied as well as a large collection but possesses a particular coherence: predominantly, it comprises ideas-based ‘conceptual’ art-works produced in London from the mid-1970s until 2017, just before Thomas died. Many Turner-Prize winners and short-listed nominees as well as a host of other internationally and nationally celebrated artists are represented. This account of the collection is intended to set the scene for later exhibitions at Wolfson and will, I hope, prepare the way for a full inventory and iterative, on-line catalogue. Thomas acknowledged that any art collection is, to an extent, a reflection of its collector. We shall see that all the works Thomas collected foreground the active participation of the viewer in interpreting meaning. They often probed the definition of art, problematised its production, deployed texts as images and challenged media boundaries, disrupting categories and inverting traditional art hierarchies. Aspects of Thomas’s personality can be glimpsed in the flashes of humour found in some of the works and in a few examples of homosexual eroticism. Some pieces have a particular resonance for gay men. For example, the tile from Simon Patterson’s I Quattro Formaggi (1992) bears the name Spartacus. Spartacus, the Thracian slave who led a rebellion against Rome, popularly known through Kirk Douglas’s starring role in Kubrick’s eponymous 1960 film, is also the name of a gay international holiday guide.
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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 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.004 | 0.005 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.009 | 0.004 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.538 | 0.302 |
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".