Quarter Review Presentation

The following is the notes for my Quarter Review Presentation. If you do not wish to read through please skip to the bottom where you will find a link to the presentation as well as questions I have for those interested in giving feedback.

Quarter Review 1:  Notes

Title Card/ Slide One:


Slide Two: Informed Work 2009-2010

  • Group Critique informed me greatly on some of the failings in my approach
  • Also informed of the potentials of my direction
  • Consulted collaborator/friend on possible direction and decided “masculinity” was the wrong term for the approach
  • Didn’t want to sacrifice the portrait and the use of objects

Slide Three: Commissioned Work

  • Work was commissioned by my Father as a gift for my mother
  1. 1. Was not excited about doing the work
  2. 2. Group Critique seemed to be drawn more so to this work then other work presented
  3. 3. Decision was made to change approach and focus on the role of “Identity” and paint in a similar fashion as these. Because:
  • The work is about identity & these two men affected my perceptions of “masculinity”
  • The idea of subject (Model) directing the work has always been my goal

Slide Four: Interviews

  • Series approach uses interviews with subjects to develop the “Identity” narrative.
  • Two things are essential to the interview:
  1. How the subject would like to be painted (Poses/Props)
  2. What object(s) were apart of their past to current identity whether apart of a collection or a singular object

Slide Five: www. Public collections .org

  • Given the site by Jen
  • Love going through it
  • Testament to the eclectic degrees by which we collect
  • Secretly hope to fall upon a person with such structured and unusual collections
  • Why focus on “objects” as a vehicle to understanding identity?
  1. 1. Freud postulated that collecting ties back to the time of toilet training. Freud suggested that the loss of control and what went down the toilet was a traumatic occurrence and that, therefore, the collector is trying to gain back not only control but “possessions” that were lost so many years ago.
  2. 2. I like to believe it goes deeper then that. In an article published by the San Francisco Chronicles in 2003 written by Steve Winn he writes: For Gerard Koskovich, 45, a disciplined San Francisco editor who collects gay, lesbian, bisexual, transgender and intersex nonfiction dating from the 17th century through 1970, collecting organizes his life. He writes and lectures on his material, structures his European travels around visits to dealers and fellow collectors and views his own identity through the history he’s assembled.

“It was very important for me in coming out as a gay man,” he explains. “I didn’t want to feel I’d arrived on this planet with no forebears.”

It is this psychology that is attached to objects that interests me.

Slide Six:  Curiosity Cabinets

  • Originally thought about obtaining the physical objects that were brought up in the interview and place them in a box (Insect Cataloguing)
  • Brendan introduced me to the concept of the curiosity cabinets.
  • Based on a 17th century practice in which practitioners collected and cataloged objects that later became the model for the modern museum and was a practice adopted by “Commoners”
  • Seemed like a perfect vehicle to use when approaching organization and the act of collecting

Slide Seven: Mark Dion

  • Has taken the curiosity cabinet, excavation, and museum practices and applied it to the “Ready Made” approach to art making.
  • Really has been one to look to as I myself attempt to take on the collections of my subjects for my own work

Slide Eight: Forging Objects

  • Not all objects that have come up in interviews are easy to attain by means of rarity or expense
  • As technology is so integrated into culture such items like the IPhone have naturally come up
  • I’ve been looking into ways of possibly forging those objects
  1. 1. EBay: Buying non functional IPhones and wiring them to at least light up
  2. 2. Making “Forgery” versions out of other materials
  3. 3. Obtaining functional display models (don’t do anything but light up)

Slide Nine: Conrad Bakker & Peter Liversidge

  • Kate introduced me to Bakker
  • Painterly creates version of objects solely out of wood.
  • Liversideg does it with paper and cardboard

Side Ten:  Curiosity Cabinets

  • Interested in modern/ minimal cabinets
  • Considering the idea of having a carpenter build them for me

Slide Eleven:  Curiosity Cabinets

  • First piece in the series is intended to be a response or addition to the work commissioned by my Father
  • Don’t want the presence of the cabinet to be distracting and the focus to remain on the portrait
  • Work intended to be a simultaneous Physical and Physiological snapshot of the subject

Slide Twelve:  Curiosity Cabinets

  • Upon opening the cabinet you become privilege to the collection of the subject depicted on the door. Thus giving you insight to the subjects sense of identity.

Slide Thirteen: Gracias


Questions for consideration:

1) What are your thoughts on this approach to portraiture? Those who were apart of the initial critique… what are your thoughts on my response?

2) Are there artist, organizations, literature, and so on you are aware of that might help inform my work?

3) Any resources I might tap into when it comes to “Forging” any objects?


About samuelguerrero

I've been pursuing what it means to live and work as an artist for a long time, and have tried to merge every aspect of my life with it. My career, my free time, my friends... pretty much everything I do I connect it to the act of making. This is a continuous journey and being an MFA candidate at PSU is another chapter of that pursuit. Here I will chronicle my experiences and processes as I work toward the completion of yet another chapter in my journey.
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