Meeting 2 Participants
Gina Dominque Hersey and Adam Carr
Date, time and location
24 Apr 2024 at 09:30 EST, Online via Teams
Discussion notes (researcher)
During the morning (EST), Adam and I met for 1 hour 20 minutes, and discussed the following:
~ Adam recommended I read Hans Ulrich Obrist texts, 'Interviews,' Vol 1 and Vol 2
https://www.amazon.co.uk/Hans-Ulrich-Obrist-Interviews-1/dp/888158431X
https://www.amazon.co.uk/Hans-Ulrich-Obrist-Interviews-v-2/dp/8881587319
~I shared my screen to show him a few of my MAXQDA coded artist interviews transcript text, as well as my coding system... plus a couple of MAXQDA features.
~Where in my dissertation is best to include my artist interview transcript texts...ex. either...
a) Include all of two or three within the dissertation, along with code analysis...
or
b) Include excerpts of about five interviews along with code analysis...
or
c) Include summaries of five interviews along with code analysis.
~ We discussed and Adam shared a link to the bio of Andrew Renton at Goldsmiths University, London, UK. He would like to invite Professor Renton to be my external viva reviewer.
https://www.gold.ac.uk/art/research/staff/ar/01/
~It was a productive meeting. Adam voiced that he is pleased with my progress, and I feel encouraged by his support.
Supervisor discussion notes
TBD
Agreed action points (to be completed after the meeting)
1. After our meeting, I will upload my dissertation draft into my OneDrive, and share it with Adam and Robyn. This will allow the two of them to comment on my live document so that we all participate in 'real time' (vs my emailing them an updated word doc.)... I completed this right away.
2. During this Fridays meeting with Colin, Adam will get more details on the time frame for my thesis upload to eDoc, and when he is to make contact Andrew Renton...upload to eDoc, etc.
3. Adam will inform me of Colin's recommendations next week.
Meeting 1 Participants
Gina Dominque Hersey and Dr. Robyn Ferrell
Date, time and location
11 Apr 2024 @ 06:30 PM EST, Online via Zoom
Meeting notes and files Discussion notes (researcher)
Robyn and I met to discuss my dissertation writing progress. We focused on my artist interviews coding in MAXQDA, which I have had 3 private training sessions on.
We reviewed where and how I will included the coded data within my dissertation...specifically in which chapters, sections, and subsections. For example: I outline them as one of my research methods in Chapter 3- Methodology & Research Design...section/subsecton 3.1.3 Artist Interviews. And in Chapter 4- 4.3 Summaries of Artist Interviews, along with an image by each artist.
For example:
Gina Dominique, 'Untitled, Digital image created on an iPad with Apple' ‘Procreate’, 2022
4.3.1 - Baird Hersey Interview of Gina Dominique- (Summary)
...
Suzan Frecon, 'terrenum' (2016) (© Suzan Frecon. Courtesy the artist and David Zwirner)
4.3.2- Gina Dominique Interview of Suzan Frecon. (Summary)
...
Anne Sophie Lorange, 'Green, from Color Anthologies Series,' oil on canvas, 2022
4.3.3 Gina Dominique Interview of Anne Sophie Lorange. (Summary)
...
Alisa Sikelianos-Carter, Hands of Fortuna (Sea Asteroid of Fate)
Acrylic, gouache, pearl mica, black mica, and glitter on archival paper
62 5/8 x 60 5/8 in (159.1 x 154 cm), 2022
‘Hands of Fortuna (Sea Asteroid of Fate)’ references Fortuna, the Roman goddess of fortune and fate. She is the one who spins the wheel of fortune. This wheel of fortune shows five concentric circles, made of blue and black, sparkling coral, hands, and oceanic tendrils. This piece speaks to the horrifying circumstances of displacement and violence our ancestors endured through colonialism, the Middle Passage, and violent enslavement. We have no explanations for why history has unfolded the way it has, and have no choice in being birthed into this reality. We are here, everlasting and glowing. We have accepted this fate for what it is, yet our Blackness has been our medicine. The wheels continue to turn, our ancestors’ wisdom encircling us and churning us forward through time. (Sikelianos-Carter, 2023)
4.3.4- Gina Dominique Interview of Alisa Sikelianos- (Summary)
...
Xochi Solis, 'Possession of Leisure,' Gouache, acrylic, colored pencil, Dura-lar film, collagraph, hand-marbled paper, colored paper, and found images on paper, 30 x 22 in, 2023
4.3.5- Gina Dominique Interview of Xochi Solis- (Summary)
...
Dannielle Tegeder, 'Salanca: Shape Language City Plan with Velocity and Crystalline Code and Rhapsodic Headquarter Global Center and Magnetic Diagram for Beauty Crystalline Universe with Velocity Accidents, and with Tunnel Routes and Stations with Pipe Chrysalis Headquarters City Plan Flat Line Possibility Machine Language and Solar Structured City with Machine Plan Universe and Method Angle Main Triangle Planet and Crystal with Thermal Red Secret and break down,' Pencil, ink, gouache, acrylic on Fabriano Murillo Paper, 39 1/2 × 55 in (100.3 × 139.7 cm), 2014-15
Gina Dominique Interview of Dannielle Tegeder- (Summary)
...
We also discussed Robyn’s thought for a possible discussion of my 'Shell Pink' painting, which I currently have compared to/contrasted with Byron Kim's 'Synecdoche Series: Selection of 9', 1992 – 1994. She thinks that Synecdoche is a good overarching framework to discuss skin tone under. I looked up synecdoche, which is described as a metonymy...a figure of speech in which a term for a part of something is used to refer to the whole, or vice versa. The term is derived from Ancient Greek συνεκδοχή 'simultaneous understanding.' Robyn noted that it is a Lacanian referenced system... ('Lacan identifies metaphor with the poetic: "a definition of poetical style ... synecdoche)', and that it has a syntactic explanation. It is used in relationship to subjectivity… it's a structural, linguistic, semiotic discussion point. The synecdoche creates a network of signifiers…an ordering of visual impressions. Racism is a kind of system, and is used as an interface between art and politics.
I may also use it as an aspect of my discussion of my 'Populus Humilus Et Divinus (People Humble And Divine)', painting...which I currently discuss in the context of the Fitzpatrick Scale, Raised fist emojis with shaded skin tones as they appear on major social media platforms.
We also reviewed several of my paintings and those that I'm proposing to compare/contrast them with.
I.e., Gina Dominique, 'Perched,' Acrylic on Linen, 20 x 24 inches, 2021-23
with Vincent van Gogh (1853-1890), 'Kingfisher by the Waterside,' oil on canvas, 26.6 x 19.1 cm, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
Gina Dominique, 'Birds and Fishes,' Acrylic on Canvas, 24x 24 in, 2021-23
with Helen Frankenthaler, 'Brown Bird,' Oil on canvas, 48 3/8 x 50 1/4 in., 1959
Gina Dominique, 'Channeled Soul,' Acrylic on Linen, 34 x 38 in, 2022
with Susan Rothenberg, 'Untitled,' charcoal, oil and graphite, 43 3/4 × 30 in, 1987, Courtesy of Sperone Westwater.
Gina Dominique, Fishbone Tool, Acrylic On Linen, 24 x 20 inches, 2022
with Staff, 'Understanding Fishbone Analysis to Uncover and Solve Problems + Example,' diagram, Motion.com, Apple Inc.
Gina Dominique, The Embrace, Acrylic on Linen 38 x 36 in 2022
with Pablo Picasso, 'L'Étreinte,' oil on canvas,
63 ¾ by 51 ⅛ in. (162 by 130 cm.), 19.11.69
...
I realized towards the end of my and Robyn's conversation that just as in Ch. 4, where I have compared/contrasted my own paintings to/with the art historical abstractionists and a work by each, I may also weave into this discussion a kind of compare/contrast with 5 of the artists I interviewed beginning with a work by each. My thought now is that I may frame Chapter 4 around both my analyses of my own paintings within the context of a handful of contemporary women abstract painters, some of the artists I interviewed, as well as within the context of the art historical abstractionists I've referenced.
