One to Another

April 20, 2010

SECAC 2010 Panel / Paper Proposal Abstracts

Filed under: 5-Related Topics — pendantportraits @ 9:35 pm

As part of this fellowship, I agreed to submit a related topic for a panel; and if this was not accepted, to submit a related paper abstract.

On December 28, 2010, I submitted the following panel abstract; and although I did not receive word that it was rejected, the absence of confirmation led me to know that it was not selected for the conference.

Portraiture: pointless or purposeful?
If you told the truth, don’t you (maybe secretly) like to look at portraits? And, why is it that people own portraits of strangers?
Michael Archer wrote that “Portrait art has never been more pointless” in an August 24 review. Archer defines the relationship between portrait subject and portrait maker as a commercial transaction when, in fact, many great historical and contemporary portraits did not involve an exchange of money. This panel examines the function of contemporary portraiture in which neither the artist nor the subject were paid during the creation of the work.

•    Who, if anyone, has created portraits that have anything to do with contemporary art?
•    What is the role of artifice and authenticity in portraiture?
•    How is technology expanding, redirecting, or replacing the role of portraiture?
•    Why does a contemporary artist make portraits (what does this give to them)?
•    Has contemporary family structure impacted the function of portraiture?
•    Can portraiture carry a cultural critique?
•    Is portraiture empowered or handicapped by the fact that it is a (painfully) traditional form?

Papers are invited from artists, curators, and historians who have explored these and related issues.

On April 20, 2010 I submitted a paper abstract to Michelle Moseley-Christian from Virginia Polytechnic Institute, the chair of a panel with the title “About Face.”

On May 3, I received word that the paper abstract, below, was accepted.

Companion Portraiture and the Contemporary Family
The companion portrait form bespeaks rigid convention, and in many ways, exclusion; consequently, it presents a conceptual opportunity. The content of this paper is based on a yearlong fellowship project, in which contemporary families, such as same-sex and multi-racial couples as well as others, are placed within this bastion of tradition. In this way, this project is an inquiry into 21st century family structure. Along with presentation of the studio production of this project, the paper will highlight historical companion portraits of particular interest and relevance. Additionally, this paper comments upon the presumption that portraiture is motivated by commercial exchange.


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