“Zurcidos Invisibles: Alan Glass, Construcciones y Pinturas, 1950-2008”
Bibliographic record
Abstract
Alan Glass, Construcciones y Pinturas 1950-2008" was the long-awaited retrospective of an artist who has called this country home since 1970.Long aligned with the surrealist movement through artistic temperament and close personal friendships in both France and Mexico, Glass' drawings and sculptural constructions nonetheless appear strikingly contemporary.His arresting juxtapositions of words, objects and images, although deeply indebted to Surrealism, are also reminiscent of Pop and postmodern appropriations.This perhaps explains why his galleries were full of intrigued and delighted youth.A staggering amount of work was on view, often delicate and fragile arrangements of ephemera.It is to the museum's great credit that they spared no expense and effort to create an environment where every piece had enough space and light to be shown to its best advantage.The walls were painted exquisite shades of blue, evocative of a fading twilight and perfect for an artist whose work and ideas are inspired by dream and a poetic elusiveness.The exhibition also benefited from the careful selection of the Japanese guest curator Masayo Nonaka, an art historian with an impressive record of shows dedicated to Surrealists.Born in Montreal, Canada in 1932, Glass' father was a golf-pro who, for inexplicable reasons, invented a square golf ball, a fact that amuses the artist to this day.Interested in pursuing art he moved to Paris in 1953 to attend the Ecole des Beaux-Arts.He soon embarked upon a more bohemian life and, after meeting André Breton, regularly participated in surrealist activities.The friendships he formed with the Surrealists at that time had a profound effect on his life and work,
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.008 | 0.006 |
| Scholarly communication | 0.003 | 0.002 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.007 | 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".