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Claude Cahun's Objects of Resistance

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Claude Cahun’s objects of resistance Allison O’Sullivan A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of Art and Design September 2016 1 2 COPYRIGHT STATEMENT 'I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietaryrights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in DissertationAbstract International (this is applicable to doctoral theses only). I have either used no substantial portionsof copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertatio Signed Date .............................................. AUTHENTICITYSTATEMENT 'I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any ·nor variations in formatting, they are the result of the conversion to digita at.' Signed Date 3 CLAUDE CAHUN’S OBJECTS OF RESISTANCE TABLE OF CONTENTS ACKNOWLEDGEMENTS 5 LIST OF ILLUSTRATIONS 6 CAHUN’S TEXTS 8 INTRODUCTION AND LITERATURE REVIEW 9 CHAPTER ONE: OBJECT THEORY 38 CHAPTER TWO: LITERARY WORKS RESISTING INTERPRETATION 77 CHAPTER THREE: THE OBJECTS OF 1936 112 CHAPTER FOUR: DEHARME AND LE COEUR DE PIC 158 CHAPTER FIVE: OBJECTS OF RESISTANCE 187 CONCLUSION 212 BIBLIOGRAPHY 228 4 ACKNOWLEDGEMENTS I would like to thank my initial supervisors, Associate Professor Alan Krell, and Professor Susan Best, who supported me through the early planning and research stages of my thesis; and my subsequent supervisors Dr Scotte East and Dr Michael Garbutt, who assisted me in rethinking my theoretical framework, and who provided a large amount of support over a very intense period of writing towards submission. I would also like to thank Professor Maaike Bleeker, who very kindly agreed to meet with me during a visit to Sydney. Prof Bleeker provided very insightful feedback on my progress and made many helpful research suggestions in the areas of materiality and object theory. Thanks also go to the staff at the Jersey Heritage Trust Archives, who provided documents and images throughout my research. I would also like to thank my family for their support over the last few years. Lastly, very special thanks to Chris Mitchenson, for all his patience, support and assistance throughout. 5 LIST OF ILLUSTRATIONS MOORE, MARCEL, AND CAHUN, CLAUDE. 1929. UNTITLED. PLATE 1, DISAVOWALS. CAMBRIDGE. MA: THE MIT PRESS, 2008. MOORE, MARCEL, AND CAHUN, CLAUDE. 1929. I.O.U (SELF PRIDE). PLATE 9, DISAVOWALS. CAMBRIDGE. MA: THE MIT PRESS, 2008. CAHUN, CLAUDE. 1936. UN AIR DE FAMILLE. JERSEY HERITAGE TRUST, JHT/1995/00032/C. HTTP://CATALOGUE.JERSEYHERITAGE.ORG/ CAHUN, CLAUDE. 1914. SELF-PORTRAIT, JERSEY HERITAGE TRUST, JHT/2003/00001/008, HTTP://CATALOGUE.JERSEYHERITAGE.ORG/ MILLER, LEE. 1930 TANYA RAMM IN BELL JAR. VARIANT ON HOMAGE Á D.A.F. DE SADE, LEE MILLER ARCHIVES. CAHUN, CLAUDE. 1925. SELF-PORTRAITS WITH BELL JAR, JERSEY HERITAGE TRUST. JHT/1995/00027/O, JHT/1995/00027/P, JHT/1995/00027/Q, JHT/1995/00027/R. HTTP://CATALOGUE.JERSEYHERITAGE.ORG/ CAHUN, CLAUDE. 1916. SELF-PORTRAIT AGAINST GRANITE WALL. JERSEY HERITAGE TRUST. JHT/1995/00026/P. HTTP://CATALOGUE.JERSEYHERITAGE.ORG/ CAHUN, CLAUDE. 1920. SELF-PORTRAIT. REPRODUCED IN “CLAUDE CAHUN: A SENSUAL POLITICS OF PHOTOGRAPHY,” GEN DOY, 2007. NY, I.B. TAURUS. CAHUN, CLAUDE. 1921. SELF-PORTRAIT. JERSEY HERITAGE TRUST. CAHUN, CLAUDE. CA 1921. SELF-PORTRAIT. JERSEY HERITAGE TRUST. CAHUN, CLAUDE. 1914. CAHUN READING WITH “L’IMAGE DE LA FEMME.” JERSEY HERITAGE TRUST. CAHUN, CLAUDE. 1931. FROM THE SERIES ENTRE NOUS. JERSEY HERITAGE TRUST. CAHUN, CLAUDE. 1931. FROM THE SERIES ENTRE NOUS. JERSEY HERITAGE TRUST. CAHUN, CLAUDE. 1936. OBJET/SOURIS VALSEUSES. ART INSTITUTE OF CHICAGO. HUGO, VALENTINE. 1931. SYMBOLIC OBJECT. CAHUN, CLAUDE. 1936. QUI NE CRAINT PAS LE GRAND MECHANT LOUP, REMET LA BARQUE SUR SA QUILLE ET VOGUE A LA DERIVE. JERSEY HERITAGE TRUST. RAY, MAN. 1936. UNTITLED (EXPOSITION SURRÉALISTE D’OBJETS). CAHUN, CLAUDE. 1936. UN AIR DE FAMILLE. JERSEY HERITAGE TRUST. 6 REDON, ODILON. 1979. VISION FROM DANS LE RÊVE. BRITISH MUSEUM, LONDON. CAHUN, CLAUDE. SKETCH. JERSEY HERITAGE TRUST. CAHUN, CLAUDE. 1930. SELF-PORTRAIT. BIFUR MAGAZINE, 1930. BRETON, ANDRÉ. 1935/6. JE VOIS J’IMAGINE. RAY, MAN. UNTITLED (EXPOSITION SURRÉALISTE D’OBJETS). DEHARME, LISE, AND CAHUN, CLAUDE. 1937. LE COEUR DE PIC (FRONT COVER). RAY, MAN. 1931. LA REINE DE PIC (LISE DEHARME). PRIVATE COLLECTION. BRETON, ANDRÉ. 1937. POUR JACQUELINE. PRIVATE COLLECTION. CAHUN, CLAUDE 1936. LA NERF MA PETIT DENT. FROM LE COEUR DE PIC. CAHUN, CLAUDE 1936. PREND UN BATON POINTU. JERSEY HERITAGE TRUST. CAHUN, CLAUDE. 1936. UNTITLED (LA DEBONNAIRE SAPONAIRE). FROM LE COEUR DE PIC. CAHUN, CLAUDE. 1936. LE COEUR DE PIC (BACK COVER). CAHUN, CLAUDE. 1936. LES ENNUIS DE PIC. FROM LE COEUR DE PIC. JE NE VOIS PAS LA [FEMME] CACHÉE DANS LA FORÊT, IN LA RÉVOLUTION SURRÉALISTE, PARIS, NO.12, DECEMBER 15TH 1929 CAHUN, CLAUDE AND MOORE, MARCEL. C.1940-44. TYPEWRITTEN NOTE, DER SOLDAT OHNE NAME SERIES. JERSEY HERITAGE TRUST. UNKNOWN. 1950. PORTRAIT OF MARCEL MOORE AND CLAUDE CAHUN. JERSEY HERITAGE TRUST. MOORE, MARCEL (?). 1937. GASGOYNE, ELT MESENS, ANDRÉ BRETON, ROLAND PENROSE AND CLAUDE CAHUN AT THE LONDON SURREALISM EXHIBITION. JERSEY HERITAGE TRUST. MOORE, MARCEL (?) DAY OF RELEASE 1945 WITH NAZI BADGE. JERSEY HERITAGE TRUST. RAY, MAN (1936) . L’OCÉAN GLACIAL. ANDRÉ BRETON, 1935. PRIVATE COLLECTION. 7 CAHUN’S TEXTS VUES ET VISIONS. MERCURE DE FRANCE, NO. 406. 1914 HEROÏNES. MERCURE DE FRANCE, NO. 639. 1925 AVEUX NON AVENUS. EDITIONS DU CARREFOUR. 1930 LE PARIS SONT OUVERTS. PARIS: JOSÉ CORTI. 1934 PRENEZ GARDE AUX OBJETS DOMESTIQUES! CAHIERS D'ART, VOL. 11. 1936 8 INTRODUCTION AND LITERATURE REVIEW 9 CLAUDE CAHUN: AN INTRODUCTION Claude Cahun was a writer, photographer and artist who worked both in Paris and on the Island of Jersey from the turn of the twentieth century until her death in 1954. After her death her body of work slipped into obscurity until the rediscovery of a collection of her photographs in the late 1980s.1 François Leperlier’s 1992 biography of Cahun, Claude Cahun: Masks and metamorphoses,2 was the first major publication on her life and work. Since then interest in her work has continued to grow. Since the rediscovery of the collection of Claude Cahun’s photography and correspondence on the Island of Jersey discussion and examination of Cahun’s work has produced a large volume of new literature on the subject. Theorists from the fields of feminism, art history and gender studies have all completed analyses of her photography and, to a lesser extent, her writing, including Tirza True Latimer, Gen Doy, Rosalind Krauss, Mary Ann Caws, Whitney Chadwick, Carolyn Dean, and Katy Kline,3 whose contributions to literature on Cahun I will examine in this introduction, in order to provide a context for my investigation of her objects. An overview of this previous scholarship on Cahun will reveal the current gaps in understanding her work, with particular regard to her object manufacture, the 1 Downie, L. (2005). Sans nom: Claude Cahun and Marcel Moore. Heritage.: 8–9. 2 Downie, L. (2005). 8. Leperlier, F. (2001). Claude Cahun: Masks and metamorphoses. London, United Kingdom: Verso Books. 3 See Caws, M. A. (1992). The eye in the text: Essays on perception, mannerist to modern. United States: Princeton University Press; Caws, M. A. (1997). The Surrealist Look: An erotics of encounter. Cambridge, MA.: The MIT Press; Dean, C. J. (1996). Claude Cahun’s double. Yale French Studies. Yale University Press. 71-92; Kline, K. (1998). In or out of the picture: Claude Cahun and Cindy Sherman, in W. Chadwick (Ed.), Mirror images: Women, surrealism, and self-representation. Cambridge, MA.: MIT Press. 67-81; Knafo, D. (2001). Claude Cahun: The third sex. Studies in Gender and Sexuality, 2.1, 29– 61; Krauss, R. (1999). Claude Cahun and Dora Maar: By way of introduction, in R. Krauss (Ed.), Bachelors. Cambridge, MA.: The MIT Press. 1-50; Krauss, R. E., Livingston, J., & Ades, D. (1985). L’amour fou: Photography & surrealism. Washington, D.C.: Abbeville Press Inc.; Latimer, T. T. (2006). Acting out: Claude Cahun and Marcel Moore, in L. Downie (Ed.), Don’t kiss me: The art of Claude Cahun and Marcel Moore, London: Tate; Latimer, T. T. (2003) Looking like a lesbian: portraiture and sexual identity in 1920s Paris, in W. Chadwick, T. T. Latimer (Eds.), The modern woman revisited: Paris between the wars. The State University, USA: Rutgers. 127-143. 10 theoretical underpinnings of which have received less attention than her photographic self-portraits. Claude Cahun was born in Nantes, France, into a family prominent in symbolist literature and leftist journalism.4 Her literary talents were fostered in this intellectual atmosphere, and she moved to Paris as a young woman where she wrote for numerous newspapers and journals.5 Initially influenced by the symbolists and the bohemian aesthetic movement of England, in the early 1930s Cahun entered a period of intense experimentation and political discourse as a new member of the surrealist group. It is apparent that Cahun’s work moved through an interesting period in 1936, in which she concentrated on the production of plastic objects and surrealist assemblages, some of which she subsequently photographed or displayed.
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    Gender Performance in Portrait Photography: Unmasking Claude Cahun

    Gender Performance in Portrait Photography: Unmasking Claude Cahun Shannon Moriarty Moriarty 2 Abstract This thesis examines the French artist Claude Cahun. During the early twentieth century, Cahun, working in collaboration with their partner, Marcel Moore, used photography to capture exaggerated gender performances. By visually analyzing the couple’s photographs and comparing such work to images of normative gender in interwar Paris, such as la femme moderne and the Surrealist muse, I analyze how Cahun launched a multi-layered attack against the role of the traditional “feminine” subject. Considering the feminist frameworks that were previously used to research Cahun’s photographs, this thesis pivots from such discussions to argue that Cahun’s and Moore’s gender is better understood as “neuter” and therefore expressing a gaze that is inherently queer. Through these dramatic subversions, Cahun and Moore’s work remains vitally relevant to contemporary feminist and queer theory and the critique of normative gender. Moriarty 3 Introduction Sitting in a chair is a person with close-cropped hair and a split fringe with feminine inward curls. They are adorned with painted hearts on their cheeks, eye shadow decorating each eyelid to the brow, and dark rouge-tinted lips that pucker coyly towards the viewer. Their tilted gaze is direct, demanding attention. The person wears the theatrical attire of a strongman at a circus performance, the accompanying dumbbell rests securely on their lap. The weights are highly phallic, a masculine symbol of strength. This hypermasculine performance of a strongman is distorted by the added elements of femininity, such as the exaggerated makeup, the ornamental comic characters Totor and Popol painted on the dumbbell, and the recurring symbols of hearts and lips.