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Skai Fowler, Christnie Davis and Joanne Tod Melanie Brown a Thesis Submitted to the Faculty O F Graduate Studies and Research In

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Skai Fowler, Christnie Davis and Joanne Tod Melanie Brown a Thesis Submitted to the Faculty O F Graduate Studies and Research In Appropriation and irony: Postmodeniist Elemmts in the Work of Three Contemporary Canadian Fanimst Artists Skai Fowler, Christnie Davis and Joanne Tod by Melanie Brown A Thesis submitted to the Faculty of Graduate Studies and Research in partial fblfilment of the requirements for the degree of Master of Arts in Canadian Art History Carleton University Ottawa, Ontario August 25, 1999 @ Melanie Brown National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wdliigtorr OttawaON K1A ON4 OnewaON KlAON4 canada CaMda The author has granted a non- L'auteur a accordé une licence non exclusive licence aiiowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seii reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fiim, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or othewise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract This thesis examines the merger of feminin and postmodernist theory in the work of three contemporary Canadian feminist artists: Ioanne Tod, Skai Fowler and Christine Davis. Speciîïcally, it addresses the use of appropriation and irony in their work. A main concem is to analyze key aspects ofboth discourses to determine similar patterns of thought. To accomplish this, feminism's engagement with main theoretical discourses, specifically Manrism, semiotics, psychoandysis and poststnicturalism is discussed. Also, key aspects tiom the writings of three main postmodeniist theorists, Jean-François Lyotard, Fredric Jarneson and Jean Bauddard, wili be analyzed in terms of a feminist application. The practical merger of feminism and postmodemism is assessed in the work of each artist in the subsequent chapters. Interestingly, it is their use of appropriation and irony which gives Tod's, Fowler's and Davis's work a critical edge. 1 wish to express my deepest thanks to and respect for Carol Payne, my thesis supe~sor. Her knowledge and direction served to make the writing of this thesis a memorable and invaluable experience. Thank-you Meg, for your well-timed srniles and laughter. Thanks to Peter St. Jacques, for his hours spent ensuring the illustrations were presentable. Hollie, dthough a simple thank-you seems small in cornparison to the suppon you have given me throughout the past years, 1 would like you to know how much 1 appreciate all you have done, thanks. Table of Contents List of Illustrations.......................................................................................................... .v Introduction,................................................................................................................. -vii Chapter One.................................................................................................................... -1 Feminism and Posbnodemism: Feminism's Engagement with Key nieoretical Discourses and Three Main Posûnodemist Writers: Jean-François Lymrd, Frednc Jarneson and Jean BaudriUard Chapter Two................................................................................................................. -37 Skai Fowler: Feminisrn and the Cancmical Nude. Chapter Three............................................................................................................... .56 Christine Davis: The Viewer ohdthe Body. Chapter Four................................................................................................................. -71 Joanne Tod: Irmy and Popular Culture. Conciusion.................................................................................................................... -89 List of Illustrations Figure 1. David Sde. Gé~cault%Ana, 1985. 0i1 on Canvas, 78% 96". Coliection of the Museum of Modem Art, New York. Source: An ihfemew wirib RadSale. By Peter Schjeldahl. New York: Randorn House, 1987. Figure 2. Skai Fowler. Coffiiwith Veacr, 1992. Colour Photograph, 122 x 152 cm. Collection of Paul Crepeau. Source: Iae Female Imaginas.. By Jan Allen. Kingston, ON. : Agnes Ethe~gtonGallery, 1995. Plate 1. Figure 3. Sando Botticelli. Bi& of Venus. Tempera on Canvas, 1.8 x 2.8 m. Collection of Galleria degh Ufh, Florence. Source: UIStoly. By Madyn Stokstad. New York: Hany N. Abrams, Inc., 1995. Pg. 11 1 1. Figure 4. Praxiteies. Hennes aad fhe llnfant Dionysos. Marble. Archeologicai Museum, Olympia. Source: Art Hl;story. By Marilyn Stokstad. New York: Harry N. Abrams, Inc., 1995. Pg. 1111. Figure 5. Skai Fowler. Curtaias, 1989. Black and White Photograph. Collection of the Artist. Source: meFde Imagiaary. By Jan Men. Kingston, ON.: Agnes Ethenngton Gallery, 1995. Figure 6.Jean-Auguste-Dominique Ingres. Large Wisque.Oil on Canvass, 2'10" x 5'4". Collection of Musee du Lourve, Paris. Source: M Histo~y.By Marilyn Stokstad. New York: Harry N. Abrams, Inc., 19%. Plate 2642. Figure 7. Skai Fowler. Pipe 1992. Colour Photograph, 152 x 122 cm. Collection of the Artist. Source: me Female Imaghq. By Jan Allen. Kingston, ON.: Agnes Et heringon Gallery, 1995. Plate 2. Figure 8. Jacob Jordeans. Pan and Syrk Oil on Canvas, 173 x 136 cm. Collection of Musées royaux des Beaux-Arts de Belgique, Brussels. Source: Jacob Jordaens 1593- 1678. By Michael Jaffë. ûttawa: National Gallery of Canada, 1968. Plate 17. Figure 9.1. Christine Davis. cleave, 1987. Installation view at WZGallecy. Counesy of Olga Korper Gallery, Toronto. Figure 9.2. Christine Davis. cleave, 1987. Installation view at YYZ Gallery. Courtesy of Olga Korper Gallery, Toronto. Figure 9.3. Chnnine Davis. ckve, 1987, Installation view at Powerhouse Gallery Counesy of Olga Korper Gallery, Toronto. vii Figure 9.4. Christine Davis. cleave, 1987. Detail of installation at YYZ Gallery. Courtesy of Olga Korper Gallery, Toronto. Figure 10.1. Christine Davis. Unanuin01~fHorizons, 1989. Installation view at S.L. Simpson Gallery. Cowtesy of Olga Korper Gallery. Figue 10.2. Christine Davis. #5 Untitled: fiom Unartlmorrs Honkom, 1989. SilverpMt/muitimedia, 29" x 32". Courtesy of O@ Korper Gallery, Toronto. Figure 10.3. Christine Davis. C/ntitIerl:W fiom Unanhous Horizon, 1989. Silverprint, lead, anodized steel plate, 8 1 " x 19". Courtesy of Olga Korper Gallery, Toronto. Figure 10.4. Christine Davis. #2 Untrtrtlddetail, fkom Lraanimous Worizom, 1989. Silverprint/rnultimedia, 81 " x 42". Counesy of Olga Korper Gallery, Toronto. Figure 1 1. Joanne Tod. SelfiPomi& 1982. Actylic on Canvas, 137.8"~153 .O". Collection of Mr. and Mrs. Richard Hallisey, Toronto. Source: Joame Tod. By Stan Douglas and Bruce Grenville. Toronto: The Power Plant Gallery, 1991. Plate 7. Figure 12. Joanne Tod. SelfiPoml as a hstihrte, 1983. Acrylic on Canvas, 149.9"~ 139.7".CoUection of Mr. and Mrs. B. Belzberg, Toronto. Source: Joanoe Tod. By Stan Douglas and Bruce Grenville. Toronto: The Power Plant Gallery, 199 1. Plate 8. Figure 13.1. Joanne Tod. Mimgmese meen, 1996. Oil on canvas, 48" x 60". Courtesy of Joame Tod. Figure 13 2. Joanrie Tod. Kùlg V;;nndih,1996. Oil on Canvas, 54" x 66". Courtesy of Joa~eTod. Figure 13.3. Joanne Tod. Break-îâsf in Berl: 1996. 0i1 on Canvass, 45" x 50". Courtesy of Joanne Tod. Figure 1 3.4. Jome Tod. LeA Field 1996. Oil on canvas, 84" x 120". Courtesy of Joanne Tod. Figure 13.5. Joanne Tod. hmof Sad' 1997. Oil on Canvas, 50" x 45". Courtesy of the Joanne Tod. Figure 13 -6.Joanne Tod. Cool Reception, 1997. Oil on Canvas, 45" x 50". Courtesy of Joanne Tod. Figure 13.7. Joanne Tod. Amk TwiI, 1997. Oil on Canvas, 54" x 66". Courtesy of Joanne Tod. Figure 13.8. Joanne Tod. Greeaway, 1997. OiI on Canvas, 40" x 32". Counesy of Joanne Tod. Figure 14. Joanne Tod. A Diamond is Forever, 1984. Oil on Canvas, 167.6% 167.6". Collection of Fust City Trust Company, Toronto. Source: foanne 7''.By Stan Douglas and Bruce Grenville. Toronto: The Power Plant Gallery, 199 1. Plate 12. The uses of appropriation and irony in recent Canadian feminist art have emerged as key strategies for the purpose of critique. In the work of the three Canadian artists exarnined here-Joanne Tod, Skai Fowler and Christine Davis-these strategies are prominent. These artists engage with images and ideas fiom mass culture as well os canonical art to analyze cultural representations of and assumptions about women. Appropriation and irony, two elements ubiquitous in contemporary art, are commonly labeled postrnodemist. Yet, when used in conjunction with a feminist viewpoint, they serve to expose the biases of past art practices and other modes of representation. An interesting merger, then, between contemporary feminist criticism and postmodeniist techniques arises in their work. This merger itself warrants deeper discussion. It is an interesting approach for feminist artists to empIoy the tropes of appropriation and irony since these elements themselves have been used in harmfùlly ambiguous ways by the patnarchal mistic tradition, including such contemporary figures as David Salle.' (Figure 1) A number of writers have questioned the relationship between these two discourses, asking if their merger has been beneficial to feminism's
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