First up, I’m adding something to my list of ambitions: hone my critiquing to the level of Margery Amdur‘s.
1) She showed a lot of stamina with doing crits at an equally energetic and committed level for an entire afternoon (and an extra hour and a half, from what I observed).
2) Then, when she heard that several students hadn’t managed to sign up in time for the limited critique spaces, she made arrangements to come back the next day.
3) On top of that, I (and those with whom I compared notes) found that she was quite good at quickly accessing and then gearing her suggestions to what you want to do with your work.
Now, perhaps a few specifics are in order. These are just possibilities to consider (each with their own advantages and disadvantages). We started by discussing her gallery-within-a-gallery installation (and led into how I might be leading up to a similar context…with very different execution/content).
-Research Anette Messager for more ideas about how to set up installations like this.
-possibilities to consider with recontextualizing the paintings and their historical referents:
-sliding out of a box (cf. Guerilla painter pochade boxes)
-hanging on chains
-cotton gloves provided to every visitor to encourage touching (but with care)
—brings conservation topics into the mix