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THE ARTIST's PRINT AS a STRATEGY for SOCIAL ENGAGEMENT Bess Frimodig a Thesis Submitted in Partial F

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THE ARTIST's PRINT AS a STRATEGY for SOCIAL ENGAGEMENT Bess Frimodig a Thesis Submitted in Partial F AN HONOURABLE PRACTICE: THE ARTIST’S PRINT AS A STRATEGY FOR SOCIAL ENGAGEMENT Bess Frimodig A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education University of the West of England, Bristol April 2014 Volume I 0 List of Illustrations Fig.3. Fukuzoku Koto Gakko High School Year Book, Kanazawa, Japan 1980 Plate I. She Still Rules Plate II. Twente Identity Robe Plate V. Stand Up To Hatred: Wall of Resistance Plate VI. To Let Plate VII. Mapping The Longest Print 1 CONTENTS Pg.4 AUTHOR DECLARATION Pg.5 ACKNOWLEDGEMENT Pg.6 ABSTRACT Pg.7 INTRODUCTION Pg.8 The dilemma Pg.10 Research Question Pg.10 Aims and Objectives Pg.10 Development of the research and its rationale Pg.12 Methodology Pg.14 Outline Pg.16 CHAPTER ONE: BACKGROUND Pg.17 Personal Context Pg.22 The Social Role of Art – A Debate Pg.27 Why print? Pg.27 History of Print Pg.35 Literature of Print – Texts, Websites and Blogs Pg.49 The Way Forward: The Individual Artist and Entering the Collective Pg.49 Models of practice Pg.58 Guiding principles Pg.59 CHAPTER TWO: CASE STUDIES Pg.60 CS1 Black History Month Pg.61 Introduction Pg.61 Aims and Objectives Pg.62 Context Pg.62 The Print Pg.63 Evaluation Pg.66 Conclusion Pg.67 The Way Forward Pg.68 CS2 AKI Twente Identity Robe Pg.69 Introduction Pg.69 Aims and Objectives Pg.70 Context Pg.70 The Print Pg.73 Evaluation Pg.74 Conclusion Pg.75 The Way Forward Pg.76 CS3 Stand up to Hatred: Wall of Resistance Pg.77 Introduction Pg.78 Aims and Objectives Pg.78 Context Pg.79 The Print Pg.79 Evaluation Pg.79 Conclusion 2 Pg.80 The Way Forward Pg.81 CHAPTER THREE: THEORY MEETS PRACTICE Pg.83 Introduction Pg.84 Iris de Leeuw and Luuks Pg.89 Maggie O’Neill and ethno-mimesis Pg.91 Conclusion Pg.93 CHAPTER FOUR: CS4 FINAL CASE STUDY Hidden impact: Prints in the City and the Value of Property Pg.94 Introduction Pg.94 Aims and Objectives Pg.95 Context Pg.98 The Print Pg.99 Evaluation Pg.104 Conclusion Pg.105 CHAPTER FIVE: FREEDOMHOUSE-ART: A MODEL FOR AN HONOURABLE PRACTICE Pg.106 Introduction Pg.106 Envisioning Freedomhouse-Art Pg.108 My practice within Freedomhouse-Art Pg.108 May 2010 Conference speaker- Art as tool for freedom Pg.109 May 2010 Playful activist- Selling freedom in the Square Pg.110 September 2010: Networker Inspiration Day Den Hague Pg.111 May 2011 Printmaker: Sprezzatura Prints, Cookalogue and Sociability Pg.113 September 2013 Coming home: meeting the office print collectors club Pg.114 Evaluation Pg.114 Networker, strategist, artist and human rights activist Pg.115 Speak truth to power Pg.116 The Way Forward- May 2014: Artist and Activist:The Longest Print Pg.117 Conclusion Pg.119 CONCLUSION Pg.120 Setting out on the Journey Pg.122 Evolving through Case Studies Pg.124 The Longest Print Pg.129 Contribution to Knowledge Pg.131 Future Research and The Way Forward Pg.133 GLOSSARY Pg.143 BIBLIOGRAPHY Pg.162 APPENDICES Pg.163 Appendix I: An Honourable Practice Blog and CS4 Hidden Impact Pg.169 Appendix II: LUUKS and LUUKS Manifestos Pg.181 Appendix III: Freedomhouse-Art Time Line 3 I Author declaration I declare that during my registration I was not registered for any other degree. Material for this thesis has not been used by me for another academic award. 4 II Acknowledgements Dr. Sue Tate for giving advice elevated by elegant intelligence, pathos and laughs alike, steering the life raft to new shores and showing how to rein in words and ideas. Richard Anderton for keeping it grounded, while sticking with the love for print. Sarah Bodman, Director of Studies, for cheering on and for keeping the balance between the academic study and life. Sue Jackson for thoughtful support and language expertise. Thank you for always being there for me. Caterina Vettori, Graduate School Administrator, for providing patient administrative support. Mary Dearden, for patience, lingusitic expertise on tap, reliability and for being part of the journey. Iris de Leeuw, artist and activist, for inspiration and showing passion in action, vision and for the meals cooked together. Thank you for our collaboration and the LUUKS way. Martin Davies for his positive support and wisdom. And my friends Mitsuyo Ogino, Stefano Beccari, Anna Bergbom-Mistry and Sarita Sundar, all who have given generously of their time, love and patience. With gratitude to all. 5 ABSTRACT An Honourable Practice is a cohesive study of the operative and ethical framework around the role of the artist and printmaker. The research project uses the artist’s prints as a strategy for social engagement, drawing on the dynamic between a personal vision and the collective, which seems to arise in printmaking as a practice of multiples. The exploration is a practice based PhD. A dialogic and collaborative process is key to contributing to a socially engaged and efficacious method weaving an individual creative praxis with theory. A methodology emerges supported by intentions to engage with causes broader than the artist’s individual experiences. Concepts such as paradigmatic particularity, politi-kitsch, alienation, empathetic connection, relational aesthetics and ethno-mimesis inform the practice, cross-referenced throughout the text in a Glossary of Terms. Primary research instigates a series of project-based case studies, each building on preceding understandings and findings. Case studies span the representation of slavery, human rights, freedom, racial hatred, and identity and property ownership. These frame the practice, while a personal narrative runs parallel to the experimentation. The practice of artist and activist Iris de Leeuw, with whom I worked closely, and the ideas of LUUKS contribute to the assessment and development of a model of socially engaged practice. Secondary research draws on the history of print and an evaluation of a range of pictorial strategies. Contextually relevant images and my own work are presented as Plates in the accompanying Volume II and cross-referenced as Figures throughout the text. This thesis interrogates the concept of An Honourable Practice and aims to contribute to the current debate on the efficacy of art beyond its commodity value. It seeks its social value and a way for the individual practitioner to ethically position them self in relation to their own creativity and to a wider, collaborative audience. The case studies build to a model of practice that finds form in the project The Longest Print. A Five Step Strategy is then identified to be of value to other practitioners in the field who want to disseminate a socially engaged method to academics, artists and decision makers. This consists of: identifying objectives, instigating preparatory activities, organising public engagement, conducting reflection and cross-disciplinary dissemination, and embedding the knowledge in personal practice by making artists prints. The strategy offers a pragmatic and inclusive approach to the complexity of a fine art social practice. 6 INTRODUCTION 7 The dilemma The expression An Honourable Practice (see Glossary) is taken from a conversation in 1992 with Bob Blackburn (1920-2003), an African-American printmaker and humanitarian. (see Vol:II.Pg.28:Fig.1.and Fig.2.) Blackburn evolved as an artist during the American Depression through President Roosevelt’s Work Administration Art Fine Print Graphics Project (WPA FPA) in the 1930s. A master printmaker, Blackburn crossed cultural and ethnic divides, opening the doors of his print shop to international artists as well as New York inner-city children and elders. He was the shadow-in-the-ink1 (see Glossary) in others’ prints as well as in social reforms. Influential in the international printmaking world, Blackburn practiced as a master printer at Universal Limited Art Editions and later at his own studio, the Robert Blackburn Printmaking Workshop. In his legendary print workshop artist-superstars worked alongside community outreach programme participants, who were often from the impoverished and toughest sections of New York City. Blackburn believed that if students could not come to the print shop, the printing press should come to the community via a van. He called the programme Printmobile site-visits. There they explored ‘their own creativity in order to experience a new sense of self-realization and an expanded view of themselves which they transferred to other areas of their lives’ (Jemison, 1992:17). To Blackburn An Honourable Practice was not necessarily community arts but a moral stance interlinking relationships, community, context and social outreach with creativity and craftsmanship, together with an individual vision. This ethos encompassed integrity, authenticity, sociability and cultural democracy to be disseminated by the medium of printmaking as a means of participation. Blackburn believed that a printmaker should reach beyond personal experience by making images meaningful to artists and non-artists. He felt that ‘artists must view themselves in the context of the great whole. They must see their connectedness to the historical past, the present, and the promised future’ (Jemison, 1992:12). This study really began in 1992 when Blackburn asked me as a printmaker, “How are you connected? What are you about?” Within a week of stepping into the print workshop I found myself teaching for free. Unknowingly, my printmaking practice was changing from an isolated expression to a new exchange. It was not the children from the Bronx projects that propelled me 1 Term coined by Torsten Lilja in a meeting in Stockholm 2007. Lilja was financial adviser to Rauschenberg, Jim Dine and other American pop-artists. 8 to search for dialogue, but their mothers, who no-one expected would want to draw and be curious about printmaking.
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