Traces: Performance Art in Aotearoa New Zealand from the 1970s to the Present Harriet Field A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy Art & Design August 2015 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Field First name: Harriet Other name/s: Wallis Abbreviation for degree as given in the University calendar: PhD School: Art & Design Faculty: Art & Design Title: Traces: performance art in Aotearoa New Zealand from the 1970s to the present Abstract 350 words maximum: (PLEASE TYPE) This thesis examines the development of performance art in Aotearoa New Zealand over the course of several decades, from the medium’s introduction to the country in the 1970s through to its contemporary iterations in the 2010s. To date, the study of performance art in New Zealand has been a neglected area of research, focused largely on the medium’s beginnings while overlooking its continued and developing presence in New Zealand art. As an original contribution to knowledge, this thesis seeks to address this imbalance, adding contemporary performance to the evolving history of the medium in New Zealand. I argue that performance is significant for the history of art in New Zealand in the following ways: as a medium that is absent from mainstream historical accounts it offers an important, alternative history of New Zealand art, and as a tool of the avant-garde it encompasses some of New Zealand’s most dynamic and vibrant art practices. This thesis is structured thematically, with each of the five chapters centring on a different aspect of performance art. The opening chapter discusses the relationship between gender and performance in New Zealand. The second chapter looks at performance works with a socio-political focus. The third chapter explores ritual performance works. The fourth chapter traces the rise of bicultural and multicultural perspectives in New Zealand art and performance. The fifth and final chapter examines the increased prevalence of participatory or relational modes of performance. This thesis explores key issues in performance history and theory, such as the significance of the body, the importance of ‘liveness,’ and relationships with the viewer/audience. I determine that though certain characteristics of performance in New Zealand are reflective of the country’s unique character, others relate more closely to global trends in art practice. I argue that, despite their relative obscurity in mainstream historical accounts, performance art practices have a significant and vital place in the history of art in Aotearoa New Zealand. By examining the changing form of these practices across several decades, this thesis contributes to a more comprehensive history of performance in the country. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in 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 property rights, 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. 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FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS 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 proprietary rights, 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 Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of 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 dissertation.' Signed ……………………………………………........................... Date ……………………………………………........................... AUTHENTICITY STATEMENT ‘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 minor variations in formatting, they are the result of the conversion to digital format.’ Signed ……………………………………………........................... Date ……………………………………………........................... ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date ……………………………………………................. List of conference papers arising from this thesis “Walk the Talk: Performance and Cultural Exchange in Aotearoa New Zealand,” Postgraduate Research Conference, University of New South Wales, Sydney, Australia, 2015. “The Spectre of Salome: Inverting fantasy in the work of Shigeyuki Kihara,” GEOcritical: the Art Association of Australia and New Zealand annual conference, University of Tasmania, Launceston, Australia, 2014. “Trace/Presence: The Body in Performance Art in Aotearoa New Zealand,” Postgraduate Research Conference, University of New South Wales, Sydney, Australia, 2014. “Trans/Feminism: Representation of the Self in the Work of Shigeyuki Kihara,” Fourth Annual Feminist Art History Conference, American University, Washington DC., United States of America, 2013. “Traces: The Presence of the Body in Performance Art in New Zealand,” the Art of Shigeyuki Kihara: A Postgraduate Research Workshop, University of Otago, Dunedin, New Zealand, 2013. Dedicated to the memory of my Grandfather Gordon William Smyth Stewart 1924-2014 Contents Acknowledgements v List of Figures vii Introduction 1 Post-Object Art and, Later, Performance Art 2 A Little-Tilled Field: Performance’s Presence in New Zealand’s Art History 8 Chapter By Chapter: A Thesis Overview 11 The Problem of Presence: Tackling Performance Art History Through Documentation 15 Chapter 1 Gender and Performance: From the Women’s Art Movement to Gender Liminality 19 1.1 Introduction 19 1.2 Gender and Performance: A Brief History 23 1.3 The Centrality of the Body and Performativity in Feminist Performance Art 26 1.4 “I’m No Feminist, But…”: Labelling and Distancing 31 1.5 Gender Meets Art in Aotearoa New Zealand: The Birth of the Women’s Art Movement 32 1.6 Women’s Work: Instances of Gendered Performance by Women 39 1.7 Masculinity: Exploring the Male Gender 57 1.8 Shifting Focus: The Expansion of Feminism and the Rise of ‘Trans’ 62 1.9 Gender Liminality: ‘Trans’ in Art 65 1.10 Conclusion 78 ii Chapter 2 Performance and Socio-Political Comment 80 2.1 Introduction 80 2.2 Performance’s Political Roots/Performing as Political Act 83 2.3 Social/Socialist: David Mealing 88 2.4 Activist, Antagonist, Actionist: Bruce Barber 98 2.5 A Political Position: Kalisolaite ’Uhila 107 2.6 Conclusion 121 Chapter 3 Ritual: Body, Gesture, Action 124 3.1 Introduction 124 3.2 Theorising Ritual 128 3.3 Abjection and Alienation: Andrew Drummond 135 3.4 Sound and Body: John Cousins’ Membrane 154 3.5 Wrap Me Up, Make Me Happy: Mark Harvey 166 3.6 The Gallery as Ritual Space: Alicia Frankovich 172 3.7 Conclusion 181 Chapter 4 From Biculturalism to Multiculturalism: Reconfiguring New Zealand’s Artistic Identity 183 4.1 Introduction 183 4.2 Centre—Periphery—Decentralisation 186 4.3 From Biculturalism to Multiculturalism 189 4.4 Cyber Sister/Pacific Sisters 195 iii 4.5 The Challenge: Michel Tuffery 211 4.6 Talanoa: Walk the Talk 221 4.7 Conclusion 232 Chapter 5 Participation, Relational Art and Social Practice: Towards a New Performance Form 234 5.1 Introduction 234 5.2 Social Practice: A Brief Introduction 237 5.3 Social Practice and Performance: The Evolution of a Medium 243 5.4 Public Art, Site-Specificity, and Participation: David Cross’ Level Playing Field 250 5.5 Delegated Performance: Alicia Frankovich’s Free Time and The Opportune Spectator 269 5.6 Conclusion 283 Conclusion 285 Bibliography 293 iv v Acknowledgements I would like to acknowledge and pay respect to the Bedegal and Gadigal people who are the traditional custodians of the land on which this thesis was written. My first and most sincere thanks go to my supervisor, Professor Susan Best. Thank you for your patience and encouragement, and for all of the opportunities and support you have provided me. I feel deeply fortunate to have had such an exceptional supervisor and mentor.