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Sting Like a Butterfly, Float Like a Bee. Vulnerability, Representation, and Vacillation: the Female Boxer in Contemporary Art

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Sting Like a Butterfly, Float Like a Bee. Vulnerability, Representation, and Vacillation: the Female Boxer in Contemporary Art Sting Like a Butterfly, Float Like a Bee. Vulnerability, Representation, and Vacillation: The Female Boxer in Contemporary Art Genève R.V. Brossard Goldsmiths University of London Art Practice-Based PhD 2016 1 Declaration: The work presented in this thesis is the candidate’s own. 2 THIS PROJECT IS DEDICATED TO: JENNIFER SANTIAGO RUTH RAPER CHRISSY BECKLES RONICA ‘THE QUEEN’ JEFFREY MELISSA ‘HURACANSHARK’ HERNANDEZ PACHECO BELINDA ‘BROWN SUGAR’ LARACUENTE NIKKI RUSSELL ALICIA ‘SLICK’ ASHLEY ELLIE SCOTNEY RUTH O’SULLIVAN DEE HAMAGUCHI LEYLA LEIDECKER LEILA FERIOLI JEAN MARTIN SONYA ‘THE SCHOLAR’ LAMONAKIS JILL EMERY ANGEL BOVEE MISCHA MERTZ VANESSA GRECO ANNA MARANDI ALEXIS ASHER KEISHER ‘FIRE’ MCLEOD JULIE ‘KID GINGER’ KELLY ERIKA TAPIA PHOENIX CARNEVALE And to the hundreds more women and girls whom I have had the honor of training with, sparring with, competing against, and boxing with in gyms around the world, exhibitions, club shows, national competitions, and international tournaments. 3 Acknowledgements First and foremost, I am deeply grateful to Andrea Phillips and Rachel Garfield, my supervisors. Their intelligence, patience, criticality, and support were a consistent source of inspiration and motivation. I couldn’t ask for better guides. Thank you. Infinite thanks to my mother, Maria Huffman, for her unconditional support throughout this much longer than expected process. Without her emotional, financial, and practical scaffolding, I could have never accomplished completion. I am deeply indebted to Samm Mullins, my trainer at the Lynn AC Boxing Club in South East London, for his exceptional care, attention and skill. Words cannot express my gratitude and admiration. I am forever grateful to Bobby Beckles, my NYC trainer and precious friend. Those 2005 golden gloves are really yours. Thank you to Roosevelt Ferrell for welcoming me into the world of boxing all those years ago. Thank you to the amazing Lucia Trimbur for her consistent and varied help with the sports sociology aspects of this thesis and especially for inviting me to participate in her many admirable endeavors. I am grateful for the talented and truly poetic Emily McMehen for spending many long hours teaching me how to edit videos and for documenting my art actions without my ever needing to ask. I am so appreciative of Carla Cruz for including me in her wonderful All My Independent Women project, and for cheering me on. I am beholden to Nina Höchtl for being so generous with her research on vulnerability and for continuing relevant conversations about wrestling and boxing. Thank you to the lovely artist James Newitt for collaborating with me. Thank you to artist and theorist Karen Tam for her support and generosity with resources. I am very grateful to Adrian Rifkin for his exciting and transforming reading group, and for being my upgrade examiner. Thank you to Susan Kelly for upgrading me and giving me valuable feedback. Thank you to Daniel Rourke for having practical answers to my queries. I am thankful to Mischa Mertz for her work and our discussions. Thank you to Angus from the Goldsmiths Media Lab for helping me with my video synching. I am very grateful to Annabel Frearson for agreeing to be my eleventh hour copy editor. Thank you to Lisa Vollmer for helping tremendously in the last leg of my studio work for this project with her expert photography and advice. I am honored for my work to be included in Jean-Marc Huitorel’s book L’Art est un sport de combat. Thank you to Simon Clark, Silke Helmerdig, Rebecca Harris, 4 Daniel Rourke, Vanessa Desclaux, and Nick Ferguson for working with me on our Hydra text for Texte Zur Kunste. Thank you to the stellar artist Selma Parlour for being a true friend from the start and for her inspiring work ethic and dedication. Thank you to the extraordinary, talented, and precious Lizzy Cooper Davis for being my PhD partner. Thank you to curator and artist Sarah Shoff for always inviting me to be in her shows. Thank you to the artist Edgar Orlainta for his beautiful work and for being a source of gentle encouragement. Thank you to Sanne Durzy for her artistry and support. Thank you to Lia Chavez for shining a clarifying light when I was questioning my path as an artist. Thank you to Zak from Pratt Institute for being such a good teacher. I am grateful to Nao Matsumoto for encouraging me to consider my boxing through my art. Thank you to Susana Mendez Silva and Jillan Peña. Thank you to Ruth Raper, Shastine Von Vugt, Leslie Kang, Jennifer Santiago, Sarah Perlis, Nora Lisman Zimbler, Brian Zimbler, Matthew Arlyck, Sarah Freeman, Rachel Fisher, Raz Mesinai, and all my New York City, Rocky Mountain, and London people for our treasured connection and your support. I value you all immensely. I am deeply grateful to Hawley Hussey for being my mentor and guide through my years in the NYC public school jungle and for always supporting my art practice and all my endeavors. I am indebted to Siobhan Dunn and Liam Ross for always giving me somewhere to lay my head in the UK and for looking at my work and feeding me and being wonderful friends. Thank you to my sister Marie Brossard for always expecting me to expect more. I am so grateful for my cousin Maria Riley’s encouragement and advice. Thank you to Kristen Grippo for being the crucial third adult when I needed to work. Thank you Davina Muse for your grace, guidance and downright magic. I am so profoundly thankful to my husband, Pierre Chée for the fortune of his graceful presence and support. And for cooking every single breakfast and dinner during the last six months of this project! Big hugs and love for my son Golden-your presence keeps it all in perspective, and for my stepson Brenden. Thank you both for bringing a needed dose of quotidian reality to this endeavor. I owe so much to my father, Chandler Brossard. Words cannot express how much you have given me. You are forever missed. Without all of these magnificent people, this work would have not been realized! Thank you, merci, gracias, grazie, danke, gras, tack, obrigado. 5 ABSTRACT This PhD aims to create a reading strategy for the subject of the female boxer in order to intervene in the ways in which this figure is utilized and understood in contemporary culture. Ultimately, I am positing the limits of social constructivism and social science as a way to understand the boxing body and, specifically, the female boxer. Readings arising out of the philosophy of phenomenology, among other areas of thought, are more useful as a way to understand and capture this. Art can draw on the difference and also the intersection between these understandings, as well as add new meanings to our thinking around the subject. I am considering the female boxer as a cipher to explore questions around the representation and vulnerability of moving bodies. My interest is in the contradictions present in the plurality of the subject; on the one hand, a political need exists to count the particular body of the female boxer as a body that matters; on the other hand, the female boxing body is an example of physicality and potentiality that is not totally captured by current semantic, cultural definition. I will discuss depictions and conceptualizations that exist both in the sociological definition of the boxing body and in methods of artistic representation, with the intention of articulating an understanding of the subject that allows for its inconclusivity as a lived body.1 Brian Massumi writes, “in motion, a body is in an immediate, unfolding relation to its own non-present potential to vary.”2 The charge of indeterminacy as carried by a body is inseparable from it, as long as the body is dynamic and alive. This thesis describes, addresses, and challenges the ways in which the female boxing body is functioning and being defined as a sociological signifier, specifically the practice of gender construction as it frames the boxing body in art and theory. Via an understanding of the female boxer as vacillating, as being both irresolute and situated, my project engages with particular works of contemporary art that are attempting an alteration of our existing interpretations of the subject. My ultimate intention is to elucidate the becoming female boxer as a generative prism, and to investigate the ways in which art could be engaging with the ensuing spectrum. 1 Braidotti, Rosi. Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory. Ithaca NY: Columbia University Press, 1994, p.161: “The concept of the lived body provides a means of enabling a situated way of seeing the subject based on the understanding that the most important location or situation is the roots of the subject in the spatial frame of the body.” 2 Massumi, Brian. Parables for the Virtual: Movement, Affect, Sensation. Durham, North Carolina: Duke University Press, 2002, p.4. 6 Table of Contents Sting Like a Butterfly, Float Like a Bee. Vulnerability, Representation, and Vacillation: The Female Boxer in Contemporary Art I.0. Introduction P.11 I.i. Chapter Précis P.17 I.ii. Position and Transition P.20 I.iii. Vulnerability and Practice P.21 Chapter One: The Fancy Mess: Current Understandings of Boxing and the Female Boxer in Art and Sociology 1.0. Introduction P.28 1.1. Boxing Performance, Elena Kovylina, 2005 P.30 1.2. Realism and Reality P.34 1.3. Brain and Brawn P.37 1.4. The Authentic Object: Hard Versus Soft P.41 1.5. Long Distance Lovers, Senam Okudzeto, 2001 P.49 1.6.
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