- R.H. Quaytman, "Ark,Chapter 10"
- (Christian Philipp Mueller picture of Andrea Fraser Performing May I Help You at Orchard in front of Louise Lawler's Picture of an Andy Warhol painting behind a Tony Smith sculpture), 2005.
Last night I attended a R.H. Quaytman lecture at Watkins College of Art, Design,& Film. She began her presentation with a screening of a film (edited by her husband, filmmaker Jeff Preiss) of the exhibition, May I Help You at Orchard in 1991. The exhibition consisted of a series of Allan McCollum's plaster surrogate paintings and a performance by Andrea Fraser. During the seven days of the show, when a visitor would enter the space, Andrea would approach them and begin her performative monologue. She would take on the persona of an art dealer casting the visitor in the role of an art buyer.
Here are highlights from my notes made during the lecture. I like to keep them in this scattered order so that I can make connections related to my own art practice.
how to bring practice into newer place without giving up history and the development of painting
-the vanishing point of her work (content) is painting
her practice - like a book - interconnectedness
--> subconscious tropes to indicate interconnectedness (like the scale and dimensions of the panels all relating to each other)
monocular focus vs. periphery, profile, oblique --> ways of looking, adjacencies
-utilizing perspective in abstraction
--> the way in which something is seen - apply other ideas to painting
- system reduces the problem of what to depict
make cv including cultural, historical, and artistic events of significance
using the site of the origin or exhibition of the paintings to generate ideas for visual content
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