Alejandro Cabeza 2013

Editor: We are looking at "Alejandro Cabeza," a self-portrait by the artist of the same name, painted in 2013, using oil paint. It gives me a very classic and somber feeling, almost like a study of the old masters. What are your initial thoughts? Curator: What strikes me is the performative aspect. He’s presenting himself, as an artist, in a particular light. What kind of art historical figures come to your mind when you consider that, and the institutional spaces that uphold them? Editor: I’m immediately thinking of Rembrandt, and maybe a little Courbet – the self-aware artist. Do you see a connection with older traditions of the artist self-portrait? Curator: Absolutely. The artist positions himself within a lineage, referencing canonical artists through pose, attire, and the subdued palette. Consider also, what are the power dynamics at play when an artist creates their own image for public consumption and places it within the art market? Editor: It feels like he’s consciously trying to legitimize his place within art history, creating this carefully crafted persona. How might the modernism tag play into this historical placement? Curator: Modernism involved breaking down conventions, while also frequently engaging with the past. The way he interprets realism through a personal lens, engaging the old master portraiture style, exemplifies a modernist approach, playing with those boundaries of old and new to place himself and his painting in this legacy. Does seeing him position himself affect your feelings about the portrait? Editor: It's like he is building a case, attempting to write himself into history through a constructed image, which makes it all the more interesting. Curator: Exactly, and that performative layer provides a vital entry point for historical analysis and how images and their place are formed.