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Abstract This Thesis Concerns the Prevalent Western Concept Of Abstract This thesis concerns the prevalent western concept of femininity as narcissistic and exhibitionist, and addresses the stereotyping notion that women are obsessed with their appearance and preoccupied with themselves as the object of the gaze. This notion is also examined in a video performance art practice that draws on a central concept of 'seducing the machine ', a model of gendered behaviour in which a woman's apparent 'love for the camera' encodes her as a submissive, subordinate object via the logic of the male gaze. The thesis explores how such images of femininity demand a 'becoming' in a self-perpetuating cycle: images of femininity beget further such images. The central question is whether a heightened and self-conscious performance of such narcissistic becoming can challenge this process, rather than simply continue to repeat its terms. In order to consider this question, psychoanalytic concepts of narcissism and their application to the analysis of socio-cultural patterns of the gaze will be investigated, exposing in particular Freud's apparently contradictory view that a woman is at the same time narcissistic and exhibitionist. Various views that may pose problems for feministdiscourse in relation to the erotic representation of women will be examined, as will the ways in which 'raunch' images have leached into mainstream visual culture. There is a popular view that the offer of 'narcissistic becoming' that is posed by sexually explicit images equates to liberation and empowerment: I shall use Judith Butler's concept of 'performativity' to suggest that such narcissism is a key driver of self-regulation in tem1s of gender norms. The historical oppression of women by the 'masculinised machine' raises concern about the way in which digital technology has normalised self-imaging practices. I shall test the parameters of the politics of women's self-representation, in order to consider strategies that may subvert, transgress and disrupt habitualised modes of spectatorship in the context of a hyper-visual society. During the history of performance practice, various artists have deliberately heightened women's sexualised role in order to challenge an over-determined relationship to the (self) image. The issue of sexuality continually threatens to undermine the criticality of women's performance art practices, and case studies of Helen Chadwick, Pipilotti Rist and Jemima Stehli will explore how these artists attempt to subvert prevailing cultural notions of women by stressing the artist/model's relationship to the camera. My performance practice involves inhabiting stereotyped images of sexualised display such as burlesque and soft porn, which demand a 'becoming' through glamorisation. It heightens the 'desiring' relationship with the camera in order to examine how the pleasure of narcissistic becoming works, via the familiarity of habitual cultural scripts, to disavow codes of subordination, submission and even dehumanisation. By making explicit the process of 'becoming the image', and pushing the performance of 'love for the camera' to its limits, my work seeks to subvert the idea of women's addiction to their own image. 2 Table of contents List of figures 5 Introduction 10 1. Seducing the machine: key theoretical concepts and contexts 1.1 Narcissism and the concept of 'becoming' 13 1 .2 Power, desire and the gaze: feminist discourse 21 1.3 Female authorship and performance art practice 26 1.4 The politics of erotic self-representation 30 1.5 The pleasure and pain of narcissistic becoming 36 1.6 Performativity: narcissism and the regulation of gender 40 1.7 Women and machines: the gendering of technology 46 Chapter summary and conclusion 51 2. The narcissistic problematic: the feminised body in performance Chapter introduction 54 2.1 Narcissism as a strategy of feminist performance 54 2.2 The camera and the auto-erotic 61 Chapter conclusion 65 3. Surface, image, femininity Chapter introduction 67 3 .1 Woman as ornament 68 3.2 Vanity and pleasure in Helen Chadwick's Oval Court 71 3.3 Masquerade: surface and transgression 78 Chapter conclusion 82 4. Hysteria, technology and the distorted self-image Chapter introduction 84 4.1 Hysteria: the feminine condition 84 3 4.2 Charcot and the photographic iconography of hysteria 86 4.3 Troubling evidence: the camera and the re-performance of hysteria 88 4.4 The scrambled self-image in Pipilotti 's Mistakes 92 Chapter conclusion 97 5. Self-image and the logic of the male gaze Chapter introduction 100 5.1 Self-objectificationas feminist practice 101 5.2 Subverting the dominant narrative of the male gaze 104 5 .3 Becoming the image of desire 106 Chapter conclusion 111 6. Seducing the machine: narcissism and performance in a contemporary feminist practice Chapter introduction 113 6.1 Video and performance works 2005-2010 114 6.2 I Get it 5 Timesa Day 115 6.3 Sugar Lips 118 6.4 Yo u are a Ve ry NaughtyBo y! 123 6.5 Projection Affection 127 6.6 Silver Screen Shimmy 133 Chapter conclusion 137 7. Conclusion Conclusion 139 Notes towards further stud 145 Bibliography 149 Figures 162 4 List of figures 1. John William Waterhouse, Echo and Narcissus (1903) 2. Carolee Schneemann, Interior Scroll (1975) 3. Carolee Schneemann, Meat Joy ( 1964) 4. Lynda Benglis, Un titled (1974) - detail 5. Hannah Wilke, Through the Large Glass (1976-8) 6. Hannah Wilke, S.OS Starification Object Series (1974-9) - details 7. Hannah Wilke (with Donald Goddard) Intra-Venus Series II ( 1993) - details 8. Hanna Wilke, I Object: Memoirs of a Sugargiver (1977-8) 9. Lynda Benglis, stills from Now (1973) 10. Helen Chadwick, The Oval Court (1984-6) - detail 11. Helen Chadwick, The Oval Court (1984-6) - installation view 12. Helen Chadwick, The Oval Court (1984-6) - detail 13. Helen Chadwick, The Oval Court ( 1984-6) - detail 14. Jeremias Falck, Vanitas (l 7th century) 15. Helen Chadwick, Vanitas (1986) 16. Helen Chadwick, The Oval Court (1984-6) - detail 17. Helen Chadwick, Carcass (1986) 18. Gian Lorenzo Bemini, The Ecstasy of St Theresa (1644-7) 19. Frarn;:oisBo ucher, Mademoiselle O'Murphy (175 1) 20. Helen Chadwick, The Oval Court (1984-6) - detail 21. The 'Charcot hand'; JconographiePhot ographique de la Salpetriere Planche III, Atrophie cerebrale: epilepsie partielle, hemiplegie droite 22. Ibid. Planche XXII, Catalepsie: provoquee par une lumiere vive 23. Ibid. Planche XL, Lethargie: contraction du zygomatique 24. Ibid. Planche XXL, Lethargie somniation: contracture artificielle 25. Charcot's Ovarian Compressor 26. Andre Brouillet, A Clinical Lecture at the Salpetriere ( 1887) 27. Jconographie Photographique . .. Planche XXIX, Hystero-epilepsie, contracture 28. Pipilotti Rist, stills from (Entlastungen) Pipilotti's Fehler (1988) 29. Marilyn Monroe and Joseph Cotten, studio shot forNiagara (1953) 30. Allen Jones, Table (l 969) 31. Allen Jones, Chair (l 969) 5 32. Jemima Stehli, Table 2 (1997-98) 33. Jemima Stehli, Chair (1997-98) 34. Jemima Stehli, Wearing Shoes Chosen by the Curator (1997) 35. Jemima Stehli, Strip no. 7 Writer (2000) - shot 4of11 36. Jemima Stehli, Strip no. 5 Dealer (1999) - shot 2 of 6 3 7. Robe11 Doisneau, Un Regard Oblique ( 1948) 38. Jemima Stehli, Red Turning (2000) 39. Helmut Newton, Here They Come I and Here They Come II (1981) 40. Jemima Stehli, After Helmut Ne wton's 'Here They Come' (1999) 41. Jemima Stehli, I 20 Polaroidsfor After Helmut Ne wton's 'Here They Come' (1999) - detail 42. Helmut Newton, SelfPortrait with Wife June and Model (1981) 43. Jemima Stehli, SelfPortrait with Karen (2000) 44. Jemima Stehli, Standing Nude (2001-2) 45. Jemima Stehli, Studio Nude (2001-2) 46. Katherine Nolan, stills from I Get it 5 Times a Day (2005) 47. Katherine Nolan, stills fromSugar Lips (2007) 48. Katherine Nolan, stills from YouAre a Ve ry NaughtyBoyl (2007) 49. Dita Von Teese forWonder bra advertising image (2009) 50. Katherine Nolan, Projection Affection (2009-10) 51. Agent Provocateur advertising image (2011) 52. Gill Elvgren, What's Up ? (1957) 53. Sarah Lucas, Tw o Fried Eggs and a Ke bab (l 992) 54. Katherine Nolan, Yo u Are a Very NaughtyBoy! - performance (2009) 55. Katherine Nolan, stills fromSil ver Screen Shimmy (2009) 56. Katherine Nolan, Producing Untitled (P anties no. 1) (2011) 57. Katherine Nolan, Untitled (P anties no. 1) Polyester, Walmart knickers, $3. 99, worn during pe1:formance in C4 Gallery, LA, duration 6 mins 23 sees (2011) 58. Katherine Nolan and Joan Healy, Trans- We st (2010) 59. Katherine Nolan and Joan Healy, Trans-West (201 0) 6 Accompanying material Four DVDs of video perfom1anceworks as the outcomes of performance practice: 1. Katherine Nolan, I Get it 5 Times a Day (2005), digital video, colour, no sound, 00:02:57 2. Katherine Nolan, Sugar Lips (2007), digital video, colour, sound, 00:02:41 3. Katherine Nolan, You Are a Very NaughtyBoyl (2007), digital video, colour, sound, 00:03:17 4. Katherine Nolan, Silver Screen Shimmy (2009), digital video, colour, sound, 00:06:48 7 Acknowledgements I would like to thank Judith Williamson, Alicia Foster, Joanna Lowry, Catherine Harper, George Barber andAlison Howard fortheir invaluable advice, patience and enthusiasm. I would also like to thank Mary O'Hagan, Ursula Nolan and Wesley Brandli fortheir support and encouragement. Thank you to Matthew Nevin and Ciara Scanlan, who gave me spirit to keep practising when I needed it, and who encouraged me to perform live. Not to be forgotten: Adam Gibney,Joa n Healy and Eleanor Lawler fortheir conversations, collaborations and late nights. But most of all, I would like to dedicate this to Dada. 8 Declaration I declare that the research contained in this thesis, unless otherwise formallyindicated withinthe text, is the original work of the author. The thesis has not been previously submitted to this or any other university fora degree, and does not incorporate any material already submitted fora degree.
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