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The Butterfly Pin: the Phenomenon of Object-Based Collecting in Australian Contemporary Artistic Practice

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The Butterfly Pin: the Phenomenon of Object-Based Collecting in Australian Contemporary Artistic Practice ResearchOnline@JCU This file is part of the following work: Joyce, Renée Elizabeth (2017) The butterfly pin: the phenomenon of object-based collecting in Australian contemporary artistic practice. PhD thesis, James Cook University. Access to this file is available from: https://doi.org/10.4225/28/5acff2310c688 Copyright © 2017 Renée Elizabeth Joyce. The author has certified to JCU that they have made a reasonable effort to gain permission and acknowledge the owner of any third party copyright material included in this document. If you believe that this is not the case, please email [email protected] James Cook University College of Arts, Society and Education Doctor of Philosophy The Butterfly Pin: The phenomenon of object-based collecting in Australian contemporary artistic practice Renée Elizabeth Joyce BA, UQ, MCIAM, QUT December 2017 Acknowledgements I firstly extend my most sincere and overwhelming gratitude to the artists who are central to this research: Donna Marcus, Glen Skien, Patrick Hall and the late Tom Risley, each of whom gave me permission to delve into their artistic practice and extended more generosity to me with their interviews, studio visits, emails and correspondence than I could have ever expected or hoped for. I would like to extend my gratitude to Coral Risley for her commitment to Tom Risley’s legacy and for her assistance with my research after his sad passing. I wish to acknowledge Nick Nicholson and Thea van Veen at the National Gallery of Australia, Ingrid Hedgcock at the Tweed Regional Gallery, Jacqui Woolf at the Museum of New and Old Art and Michael Barnett at the Griffith Artworks (Griffith University Art Gallery) for their assistance in providing me with images of works of art in their collections for this thesis. I have only the sincerest gratitude to Dr Gordon Brown and Dr Allison Craven for their dedicated work as secondary supervisors during my candidature and I note particular thanks to Dr Craven for her keen insights and ability to take on supervision of a research candidate in the final twelve months, a supremely tough task. I am indebted to Professor Stephen Naylor, a gentleman of wisdom and academic rigour who encouraged me to pursue higher degree research and who has been with me each step of the way as primary supervisor, mentor and friend, despite the many and varied challenges of geographical differences and work commitments. Without Professor Naylor and his unwavering belief in the validity of this research to contemporary cultural theory in the visual arts, this thesis would not have seen the light of day. I thank each one of my friends who have provided kindness, support and wine in three cities over eight years. You are a diverse and wonderful bunch and so loved. I dedicate this research to my family: my mother Gayle, father John and sister Bree to whom the most special and enduring thanks must be given for their unwavering support, patience and understanding throughout this journey; for picking me up each time I stumbled; and for the endless supply of tea, wine and tissues. Most importantly, to me, I am indebted for their constant faith and reassurance that I could achieve this end. Special thanks to my magnificent mother who provided keen copy-editing skills and endless patience in regards to grammar, punctuation and sentence structure. This is a debt I simply could never repay. A final acknowledgement of gratitude is to my late paternal grandmother, Mary Joyce, whose life choices provided me with a profound example to follow and who knew that adventure is to be savoured, that laughter can smooth many bumps and that there is never an expiry date on learning something new. i Statement of contribution of others Nature of Assistance Contribution Names, Title and Affiliations of Co- contributors Data Interview Content and Tom and Coral Risley Transcript approvals Donna Marcus Glen Skien Patrick Hall Intellectual Support Supervision Professor Stephen Naylor, James Cook University Dr Allison Craven, James Cook University Dr Gordon Brown, James Cook University Editorial Assistance Professor Stephen Naylor, James Cook University Dr Allison Craven, James Cook University Gayle Joyce Financial Support Conferences James Cook University PhD research funding (standard) ii Abstract As a species of hunter and gatherer, we as humans are driven to collect things that we can use to sustain our lives, but once the intrinsic need of this process is met, animals of all sorts will collect objects for other purposes. To the contemporary artist, this innate sense of object envy or the desire to collect has become a driving force behind much contemporary art practice and is firmly posited in art theory. Patterns are emerging within collecting processes that have become templates for unique styles of representation, be they conceptual or practical. This research probes beneath the surface of artistic practice in relation to collected object inclusive artistic practice in the search for a model to explain the phenomena which has become more prevalent over the past century. The historical discourse of object collecting, classification and display from the Medieval Reliquary, cabinets of curiosities, early museums and the modern and contemporary museological frameworks of the twentieth and twenty-first centuries forms the basis of this research. It is hypothesized that this historic continuum of collection processes has generated culturally and socially influenced object interaction behaviours that underpin the manner in which humans collect, classify and display objects. These historically informed behaviours have, over the span of history, resulted in a set of codified practices of collecting, classification and display. These practices, which have been repeated over the course of object collecting history, appear to have been adapted and incorporated into contemporary visual arts practice in those instances where artists engage with collected objects. To investigate the resonances of characteristic practices of historic collection processes that can be observed in contemporary collected object inclusive artistic practice, a series of researcher generated theoretic paradigms titled the Butterfly Pin Constructs, has been developed. The Butterfly Pin Constructs consist of five individual constructs that represent key elements of collecting, classification and display which have persisted and evolved since the Medieval period. These theoretic representations provide a platform upon which to discuss collected object inclusive artistic practice and the impact of the legacy of collection processes upon this contemporary phenomenon. This research utilises interview data from four Australian sample artists and the visual analysis of a number of their works of art to interrogate the framework of the Butterfly Pin Constructs and the role they may fulfil within the creative process. The Butterfly Pin Constructs, as embodiments of key characteristics of historic collection processes, are the central framework upon which an understanding of the phenomena of collected object inclusive practice can be positioned. As such, the interview responses and works of art of the late Tom Risley, Donna Marcus, Patrick Hall and Glen Skien, each of whom engage in collected object inclusive artistic iii practice, offer a sample set of this artistic phenomenon upon which to assess the validity of this theoretic model as offering an alternate paradigm to examine collected object inclusive artistic practice. iv Copyright: Every reasonable effort has been made to gain permission and acknowledge the owners of copyright material. I would be pleased to hear from any copyright owner who has been omitted or incorrectly acknowledged. v Table of Contents Acknowledgements ................................................................................................................ i Statement of contribution of others .........................................................................................ii Abstract................................................................................................................................. iii Table of Figures ................................................................................................................... xii Chapter 1. The Butterfly Pin .................................................................................................. 1 1.1 Introduction .................................................................................................................. 1 1.2 Chapter Summary ....................................................................................................... 4 1.2.1 Surveying the literature (Chapter 2)....................................................................... 4 1.2.2 Developing the research (Chapter 3) ..................................................................... 5 1.2.3 Research into collecting, classification and display (Chapter 4 and Chapter 5) ..... 6 1.2.4 Articulating the Butterfly Pin Constructs (Chapter 6 and 7) .................................... 7 1.2.5 The Butterfly Pin Constructs and the creative process (Chapter 8 and 9) .............. 9 1.2.6 Introducing the Sample Artists ............................................................................. 12 Chapter 2. Collected Literature ........................................................................................... 15 2.1 Introduction ...............................................................................................................
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