Hank Bull: Connexion. BURNABY ART GALLERY
Bibliographic record
Abstract
The concept of archives has surfaced in various programs of galleries and artist-run centres in Vancouver as these institutions investigate art histories in different ways.These initiatives have ranged from web-based projects like the Belkin Art Gallery's Ruins in Process: Vancouver Art in the Sixties and Beginning with the Seventies: Activism, Art & Archives to on-site exhibitions such as the Satellite Gallery's presentation about Vancouver's Mainstreeters art gang and Western Front's Past Is Prologue and Independent Archives Week, which the Front co-hosted with grunt gallery and VIVO. 1 Together these galleries have invited audiences into their institutional archives, hosted exhibits and events that highlighted historical works produced by resident artists, and advocated funding for the conservation and preservation of those works.Curators Joni Low and Pan Wendt, along with the artist, performer, curator, pianist, documentor, advocate, and ultimate connector of people and ideas Hank Bull, are doing something more expansive in Hank Bull: Connexion, recently exhibited at the Burnaby Art Gallery in Burnaby, B.C. 2 Neither a retrospective nor a solo show in the usual sense, Connexion offers the viewer access to both the life and work of Hank Bull, as if from the starting point of his personal fonds, found in a gallery rather than an archives.One of the principles behind the organization of this exhibition was to demonstrate a contrast between museum and studio, public and private.The artist and curators chose objects and works from Bull's home and studio that reference aesthetic themes, political philosophies, and key collaborations that have been important throughout Bull's lifetime.Their choices are especially fascinating when considered alongside writings on personal archives and the expression of the self, including those published recently in the pages of this journal.3 Bull has a long history within Vancouver's art milieu: he was an early member of the Western Front and the founder of Centre A, and he is a current board 1 See Ruins in Process: Vancouver Art in the Sixties, http
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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 | 0.001 | 0.001 |
| Science and technology studies | 0.013 | 0.005 |
| Scholarly communication | 0.007 | 0.002 |
| Open science | 0.001 | 0.006 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.127 | 0.011 |
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".