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Tentatives Et Réflexions Pour Une Histoire Queer De L'art, En Compagnie D'andrea Geyer, De Rashid Johnson Et De Sherrje Levine

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Tentatives Et Réflexions Pour Une Histoire Queer De L'art, En Compagnie D'andrea Geyer, De Rashid Johnson Et De Sherrje Levine ------·--------- UNIVERSITÉ DU QUÉBEC À MONTRÉAL « TO BE IN THE INSTITUTION BUT NOT OF IT » : TENTATIVES ET RÉFLEXIONS POUR UNE HISTOIRE QUEER DE L'ART, EN COMPAGNIE D'ANDREA GEYER, DE RASHID JOHNSON ET DE SHERRJE LEVINE MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAITRISE EN HISTOIRE DE L'ART PAR PHILIPPE DUMAINE ALLARD MAI 2017 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.1 0-2015). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l 'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l 'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire. » REMERCIEMENTS Depuis maintenant six ans, mon parcours à la maîtrise a été soutenu, de près ou de loin, par un nombre incalculable de personnes. Si elles ne peuvent pas toutes être nommées ici, j'espère qu'elles se reconnaîtront et qu'elles seront convaincues de toute la gratitude que j'ai pour elles, pour leurs conseils judicieux et leurs bons mots qui auront su, à un moment ou à un autre, me motiver à continuer. D'abord, un merci tout spécial à ma directrice de recherche, Thérèse St-Gelais, pour son soutien et sa confiance indéfectibles. Merci d'avoir toujours cru qu'un jour, j'arriverais à compléter cet exercice. Merci, surtout, de m'avoir un jour conseillé de «faire ça queer ». Merci au Conseil de recherches en sciences humaines d'avoir appuyé financièrement mes recherches. Merci à l'équipe de la Galerie de l'UQAM, et particulièrement à Louise Déry, Audrey Genois et Anne Philippon, pour leur flexibilité et pour la confiance qu'elles me portent depuis maintenant plus de trois ans. Elle m'aura, à des moments plus difficiles de la recherche, été extrêmement précieuse. Merci à l'équipe des spectacles Propositions for the AIDS museum et Youngnesse de projets hybris, que j'ai eu la chance de diriger en parallèle à mon parcours à la maîtrise. Leur ouverture complète à 1'inconnu et leur inventivité constamment renouvelée auront été pour moi des sources importantes d'inspiration. Et merci à Steeven Pedneault, toujours présent. Merci d'avoir été mon complice à travers ce parcours ardu, d'avoir su m'épauler et m'encourager. Ton soutien m'est on ne peut plus important. TABLE DES MATIÈRES LISTE DES FIGURES .................. .. ...... ....................................................................... v RÉSUMÉ ................ ........ .......................... ................ .... ... .......................................... viii INTRODUCTION ... ..................................... ............ .................................................... 1 CHAPITRE! « SHARPENING MY OYSTER KNIFE » : RÉAPPROPRIA TIONS CRITIQUES DE L'HISTOIRE .. ... .. ... .................................. 9 1.1 D'une histoire canonique ......................................... ................................... 10 1.2 Fountain (After Marcel Duchamp) ........... .................................................. 15 1.3 D'une binarité épistémologique ....... ......... .. ................. .. .. ... .. ...................... 19 1.4 D'une distribution des places .. ... ............................................ ..................... 24 1.5 The Audrey Munson Project .................................................. ..................... 29 1.6 Des savoirs situés ....................... ........... ...................................................... 34 1.7 The End ofAnger ..................................................................... ................... 38 CHAPITRE II « LOOKING BEYOND THE HERE AND NOW » : DÉSTABILISATIONS DU TEMPS ET OUVERTURES DE POSSIBLES ............. 47 2.1 D'une construction normative du temps ..................................................... 48 2.2 Three Chants Modern ................................................................. ................ 55 2.3 Du futur comme temporalité critique .......................................................... 62 2.4 Fly away, Space, Run ......... ......................................................................... 67 2.5 De l'utopie comme stratégie viable ............................................................ 70 CHAPITRE III « RESIST MASTERY »: VOLONTÉ D'INSTITUTIONNALITÉ ET PRODUCTIVITÉ DE L'ÉCHEC ... ...... 75 3.1 D'une récupération de la différence .. ... ..................... .................................. 76 lV 3.2 De la volonté d'institutionnalité ... ... ...... ......... .. ......... ... .. ... .... ... ..... ..... ... .... .. 82 3.3 Cadeau ... .. ... .. .. .......... .. ....................... ............................................... ... .. ..... 85 3.4 D'un échec productif.. ......................................... ............................... .... .. ... 92 CONCLUSION ........ ...................... .............. ... .... .. .. .... .. ................. .. .. ... .. .... ................ 98 ANNEXE A FIGURES .. .... ...... .............. .................. .. .......... .... ................... .. ... .... ...... ........ ............ 105 BIBLIOGRAPHIE ... .... ......... .. ......................... ............................ .. .............. ... ....... ... 127 LISTE DES FIGURES Figure Page Sherrie Levine, Fountain (Ajier Marcel Duchamp: A. P.), 1991, bronze, 36,2 x 36,2 x 63,5 cm. Collection du Walker A1t Center (1992.153)........ ........ ............. ............. ........ .... ............ 105 2 Marcel Duchamp, Fontaine, 1917/1964, faïence blanche recouverte de glaçure céramique et de peinture, 63 x 48 x 35 cm. Collection du Centre Pompidou (AM 1986-295) ..................... 106 3 Constantin Brancusi, Bird in Space, 1928, bronze, 137,2 x 21,6 x 16,5 cm. Collection du Museum of Modem Art (MoMA) (153.1934) .. ..... ......................... .. ........ .... ................ .. 107 4 Adolph A. Weinman, Civic Fame, 1913, cuivre doré, 7,6 m. Manhattan Municipal Building, New York ........ .... ....... ......... 108 5 Andrea Geyer, From the Notebook. Audrey Munson, 2004, projet de recherche, assemblage de documents imprimés, dimensions variables. Réalisé en résidence au Lower Manhattan Cultural Council ................................. ....... ........................ .. ... 109 6 Andrea Geyer, "Queen of the Artists' Studio" The Story ofAudrey Munson - Jntimate Secrets of Studio Life Revealed by the Most Perfect, Most Versatile, Most Famous ofAmerican Models, Whose Face and Figure Have Inspired Thousands of Modern Masterpieces of Sculpture and Painting (détail), 2007, livre d'artiste, 128 p., édition de 500. New York: Art in General. ... .... llO 7 Rashid Johnson, The End ofAnger, 2012, tuiles miroir, savon noir, cire, livres, coquilles d'huîtres, beurre de karité, vinyle, 123 ,2 x 214,6 x 45,7 cm ............................. .......... .... .... .......... 111 Vl 8 Rashid Johnson, The End ofAnger (détail), 2012, tuiles miroir, savon noir, cire, livres, coquilles d'buitres, beurre de karité, vinyle, 123,2 x 214,6 x 45,7 cm ........................... ....................... 112 9 Rashid Johnson, The End of Anger (détail), 2012, tuiles miroir, savon noir, cire, livres, coquilles d'huîtres, beurre de karité, vinyle, 123,2 x 214,6 x 45,7 cm .... ... ....... .... .... ......... ............... .... 113 10 Andrea Geyer, Three Chants Modern, 2013, vidéo HD à deux canaux, couleur, son, 25 minutes. Vue de l'installation à ASpace, Toronto, dans le cadre du Images Festival, 2013 ..................... 114 11 Andrea Geyer, Three Chants Modern, 2013, vidéo HD à deux canaux, couleur, son, 25 minutes, image tirée de la vidéo à 5 minutes 40 s ................................... ................... .......... 115 12 Pablo Picasso, Baigneuse assise, 1930, huile sur toile, 163,2 x 129,5 cm. Collection du Museum of Modem Art (MoMA) (82.1950) ..................... ············ ............... ·············· ·· ····· 116 13 Andrea Geyer, Three Chants Modern, 2013, vidéo HD à deux canaux, couleur, son, 25 minutes, image tirée de la vidéo à 14 minutes 30 s ......... .................. ..... ........ .. .................. 117 14 Andrea Geyer, Three Chants Modern, 2013, vidéo HD à deux canaux, couleur, son, 25 minutes, image tirée de la vidéo à 15 minutes 36 s ....................................... ......................... 118 15 Fernand Léger, Trois femmes, 1921-1922, huile sur toile, 183,5 x 251 ,5 cm. Collection du Museum ofModem Art (MoMA) (189.1942) ... .............. .......................................... .. ..... 119 16 Rashid Johnson, Fly Away, 2011, peinture en aérosol sur miroir encadré, 131 ,5 x 84 cm ............ .. ........ ..... ........................ 120 VIl 17 Rashid Johnson, Space, 2008, peinture en aérosol sur miroir encadré, 120,3
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  • Download Rashid Johnson Résumé
    177 NW 23rd Street, Miami, Florida 33127 (786) 332-4736 Rashid Johnson Born in Chicago IL, 1977 EDUCATION Bachelor of Arts, Columbia College, Chicago IL, 2000 School of the Art Institute, Chicago, Chicago IL, 2004 – 2005 Lives and works in New York NY SELECTED SOLO EXHIBITIONS 1999 Seen In The Dark, G.R. N’Namdi Chicago, Illinois 2000 Seen In The Dark G.R. N’Namdi, Detroit, Michigan 2000 National Black Fine Art Show, G.R. N’Namdi, New York, New York 2001 Manumission Paper, G.R. N’Namdi Chicago, Illinois 2001 Manumission Paper, G.R. N’Namdi, Detroit, Michigan 2013 Ballroom Marfa, ‘New Growth’, Texas TX High Museum of Art, Atlanta ‘Rashid Johnson: Message to Our Folks’, Atlanta GA Kemper Art Museum, ‘Rashid Johnson: Message to Our Folks’, St. Louis MO 2012 David Kordansky Gallery, ‘Coup d’état’, Los Angeles LA Miami Art Museum, ‘Rashid Johnson: Message to Our Folks’, Miami FL South London Gallery, ‘Shelter’, London, England Hauser & Wirth, ‘Rumble’, New York NY Museum of Contemporary Art Chicago, ‘Rashid Johnson: Message to Our Folks’, Chicago IL 2010 Massimo De Carlo, ‘25 Days after October’, Milan, Italy Carlson/Massimo De Carlo, ‘Between Nothingness and Eternity’, London, England Galerie Guido W. Baudach, ‘There are Stranger Villages’, Berlin, Germany Salon 94, ‘Our Kind of People’, New York NY 2009 David Kordansky Gallery, ‘Other Aspects’, Los Angeles CA Sculpture Center, ‘Smoke and Mirrors’, Long Island City NY Power House Memphis, ‘The Dead Lecturer: Laboratory, Dojo, and Performance Space’, Memphis TN 2008 Richard Gray Gallery, ‘Cosmic
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  • Rashid Johnson
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