The Horrendous along with the Exquisite

"Quite large numbers of LF's works founder.
...
'I could tell that it wouldn't develop into a finished picture. There's something wrong.'"

p. 104 in Martin Gayford’s Man with a Blue Scarf: On Sitting for a Portrait by Lucien Freud

Some of the drawings made for the Portrait Exchange are really gorgeous. Sometimes they were laid down on the paper so quickly that they seem to have been miraculously pulled out of a magician's top hat. Others - many of my drawings, in fact - are small catastrophes, neither good drawings nor accurate likenesses.

Should I just politely fold them into the kitchen trash bin and hurry them to the curb so they can be wisked away before they do more damage?

No. I don't think so.

You can see them all here on this blog. If the editor's creed is to "cut, cut, cut," what is to be gained by showing everything, the horrendous along with the exquisite?

Traditionally the artist cherry-picks the best work they do and discards the rest to give the illusion of mastery that builds the artist's reputation, their "brand" as we might call it today. However, when you don't edit, you get a full set of "data points" and when you share that set of data points, you allow the viewer to make their own conclusions about what's happening in the set. That's reason one.

I want to see all the drawings made in the Central Park Portrait Exchange because I really don't know what the drawings are going to look like. Who is in the park making portraits and what do they look like? If each one of them draws the same person under similar conditions but all the drawings are uniquely different, what is the relationship between these portraits?

At the heart of the matter is the ephemeral nature of human perception as it plays out within the tradition of looking at another person's face and translating that face into marks on a piece of paper. Editing out the "bad" drawings skews the data. That's reason two.

.....

I was chagrined to see that someone has "favorited" one of the Portrait Exchange pairs on my public Flickr account and cruelly enough its the most hideous two drawings done so far! Qiao Fu and I had a truly bad day and now someone's cherry-picking our failures! Ouch.

Here's that "favorite" for your enjoyment:

Session Five Report; Successful "Display Only" Stand

Peter Walsh and Ji Yin Jin exchanging portraits near Grand Army Plaza in the southeast corner of Central Park, July 30, 2010.

Although the new park rules are currently in effect, two excellent portrait exchanges were completed this morning: Ji Yin Jin and Peter Walsh and Qiao Fu and Peter Walsh. A cool summer breeze made for a relaxing drawing session, especially coming at the end of a particularly hot and sticky July. The new portraits will be posted soon.

At 10:30am, after the exchanges, Peter Walsh set up a "display only" stand in a plaza location that is currently "illegal" for art vendors. Just two weeks ago five artists would have been on site. Two PEP (Park Enforcement Patrol) officers came by to say that the spot was not open for use. After Walsh explained that nothing was for sale, and while videotaping the entire exchange, one of the officers called a supervisor and the stand was allowed to remain at the location. Federal Judge Richard Sullivan has specifically stated that a "Display Only" stand is a protected form of free speech. Later, Xiang Yue Chuan came by with a smile, "You won!"