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-- 19h00s ( talk) 06:21, 12 February 2024 (UTC)
There was some duplication among the section on public installations and the works, and the latter seemed a bit long without context to break it up. I've moved all the installations into the dedicated section and combined works at the same museum or institute. @ 19h00s: what do you think?
There might also be some works or museums that could be left off that list, and grouping by type, so that it is more of an annotated selection -- perhaps with a link to a complete catalog if it exists. – SJ + 21:23, 22 January 2024 (UTC)
Expanding on my Edit summary, it would be helpful to have additional eyes on the section regarding Gilliam's mental health and arrest in 1975 for assaulting a fellow plane passenger - I want to be sure I'm keeping NPOV and citing the court memorandum correctly. There are few details readily available about the incident apart from a U.S. Tax Court memorandum decision from 10 years later related to Gilliam's legal fees, which has become notable case law due to the circumstances and the precedents it set. But that memorandum decision is structured in a way that makes it difficult to really parse (no details as to who said what, etc.) As far as I can find, the arrest was covered by The Washington Post and Washington Star (both cited via NewsBank) and United Press International (not accessible in any databases online but the Star article has no listed author and cites UPI's reporting, so it was presumably a rewrite of a UPI wire article). Gilliam was essentially an art world star when this happened, so I'm pretty surprised I haven't been able to find more. He never spoke publicly about it from what I can find, but I haven't been able to visit his papers at the Archives of American Art, so there's a chance it's mentioned somewhere in there. Significantly, none of the literature about Gilliam's art career makes any mention of the plane incident (checked all the published monographs after 1990 and all the in-depth monographic journal pieces) - it's unsurprising that it wasn't mentioned in his retrospective monograph, but even the academic art journal articles and well-researched historically oriented contemporary magazine/news profiles of Gilliam omit the incident, and none of the literature mentions his mental health whatsoever. The only place this is regularly discussed is legal journals in the context of tax law, most of which are just citing the case as a precedent.
I found this because I checked the original few edits on this article, at some point in early Wiki era the tax court memo was pasted in its entirety - it seems that a tax law professor realized who Gilliam was around the time of the retrospective in 2005 and made a blog post about him that got some attention in law circles. The really distasteful phrasing in that blog - he "went berserk" - speaks to the issue of trusting the tone/reporting on this, a nuanced situation that has few detailed first-person sources (but I also like Gilliam's art, so I want to be mindful not to let my appreciation translate into just giving him the benefit of the doubt in the way it's phrased/framed here).
I'll be adding more to the article re: his career/style in the 80s-2020s via the literature, but wanted to flag this now that I've added it and structured the relevant citations so others can help reword it/add more info/whittle it down/help translate the court memorandum speak. (tagging @ Sj in case you have any insights into a good approach here) -- 19h00s ( talk) 06:23, 9 February 2024 (UTC)
I've tried to add a sizable number of quotes and analysis from Gilliam, critics, art historians, and journalists on issues of Blackness, race, representation, and politics, as they have been extensively cited by all four as important factors in Gilliam's life, artistic evolution, and career (there's a lot of nuance to the phrase "important factors," as Gilliam himself said that he didn't make art about politics or Blackness but that he felt his art did encompass aspects of the Black experience, yet he also suggested late in his career that he may have had more commercial success if he had integrated references to Black politics and culture more explicitly into his visual medium). At this point I think I've reached the upper limit on this type of analysis and info, barring a significant split or trimming that cuts the article down in size. But there are an even bigger range of relevant quotes from additional sources that could be helpful to anyone else who is editing or adjusting this page later down the line - and I also want to be mindful that the specific way I have written facts and included quotes and analysis may not be how another interested editor would do it, so I want to offer some additional sources beyond what's already included, for anyone who feels it needs to be rewritten later on. There is also a case to be made - which Binstock and others have argued - that the plethora of analysis on Gilliam and race is a factor of critics' and journalists' over-use of Gilliam's identity as the primary lens through which to view his work (which is why I also included one of several published Gilliam quotes where he explicitly says he doesn't believe his work should be categorized as "Black art"). Just pasting these additional quotes here (will add more as I find/re-find them.) - 19h00s ( talk) 15:31, 19 February 2024 (UTC)
This is the
talk page for discussing improvements to the
Sam Gilliam article. This is not a forum for general discussion of the article's subject. |
Article policies
|
Find sources: Google ( books · news · scholar · free images · WP refs) · FENS · JSTOR · TWL |
Archives: Index, 1Auto-archiving period: 90 days |
A news item involving Sam Gilliam was featured on Wikipedia's Main Page in the In the news section on 29 June 2022. |
This article is rated B-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
To-do list for Sam Gilliam:
|
Archives ( Index) |
This page is archived by
ClueBot III.
|
To-do list for Sam Gilliam:
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-- 19h00s ( talk) 06:21, 12 February 2024 (UTC)
There was some duplication among the section on public installations and the works, and the latter seemed a bit long without context to break it up. I've moved all the installations into the dedicated section and combined works at the same museum or institute. @ 19h00s: what do you think?
There might also be some works or museums that could be left off that list, and grouping by type, so that it is more of an annotated selection -- perhaps with a link to a complete catalog if it exists. – SJ + 21:23, 22 January 2024 (UTC)
Expanding on my Edit summary, it would be helpful to have additional eyes on the section regarding Gilliam's mental health and arrest in 1975 for assaulting a fellow plane passenger - I want to be sure I'm keeping NPOV and citing the court memorandum correctly. There are few details readily available about the incident apart from a U.S. Tax Court memorandum decision from 10 years later related to Gilliam's legal fees, which has become notable case law due to the circumstances and the precedents it set. But that memorandum decision is structured in a way that makes it difficult to really parse (no details as to who said what, etc.) As far as I can find, the arrest was covered by The Washington Post and Washington Star (both cited via NewsBank) and United Press International (not accessible in any databases online but the Star article has no listed author and cites UPI's reporting, so it was presumably a rewrite of a UPI wire article). Gilliam was essentially an art world star when this happened, so I'm pretty surprised I haven't been able to find more. He never spoke publicly about it from what I can find, but I haven't been able to visit his papers at the Archives of American Art, so there's a chance it's mentioned somewhere in there. Significantly, none of the literature about Gilliam's art career makes any mention of the plane incident (checked all the published monographs after 1990 and all the in-depth monographic journal pieces) - it's unsurprising that it wasn't mentioned in his retrospective monograph, but even the academic art journal articles and well-researched historically oriented contemporary magazine/news profiles of Gilliam omit the incident, and none of the literature mentions his mental health whatsoever. The only place this is regularly discussed is legal journals in the context of tax law, most of which are just citing the case as a precedent.
I found this because I checked the original few edits on this article, at some point in early Wiki era the tax court memo was pasted in its entirety - it seems that a tax law professor realized who Gilliam was around the time of the retrospective in 2005 and made a blog post about him that got some attention in law circles. The really distasteful phrasing in that blog - he "went berserk" - speaks to the issue of trusting the tone/reporting on this, a nuanced situation that has few detailed first-person sources (but I also like Gilliam's art, so I want to be mindful not to let my appreciation translate into just giving him the benefit of the doubt in the way it's phrased/framed here).
I'll be adding more to the article re: his career/style in the 80s-2020s via the literature, but wanted to flag this now that I've added it and structured the relevant citations so others can help reword it/add more info/whittle it down/help translate the court memorandum speak. (tagging @ Sj in case you have any insights into a good approach here) -- 19h00s ( talk) 06:23, 9 February 2024 (UTC)
I've tried to add a sizable number of quotes and analysis from Gilliam, critics, art historians, and journalists on issues of Blackness, race, representation, and politics, as they have been extensively cited by all four as important factors in Gilliam's life, artistic evolution, and career (there's a lot of nuance to the phrase "important factors," as Gilliam himself said that he didn't make art about politics or Blackness but that he felt his art did encompass aspects of the Black experience, yet he also suggested late in his career that he may have had more commercial success if he had integrated references to Black politics and culture more explicitly into his visual medium). At this point I think I've reached the upper limit on this type of analysis and info, barring a significant split or trimming that cuts the article down in size. But there are an even bigger range of relevant quotes from additional sources that could be helpful to anyone else who is editing or adjusting this page later down the line - and I also want to be mindful that the specific way I have written facts and included quotes and analysis may not be how another interested editor would do it, so I want to offer some additional sources beyond what's already included, for anyone who feels it needs to be rewritten later on. There is also a case to be made - which Binstock and others have argued - that the plethora of analysis on Gilliam and race is a factor of critics' and journalists' over-use of Gilliam's identity as the primary lens through which to view his work (which is why I also included one of several published Gilliam quotes where he explicitly says he doesn't believe his work should be categorized as "Black art"). Just pasting these additional quotes here (will add more as I find/re-find them.) - 19h00s ( talk) 15:31, 19 February 2024 (UTC)