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Ace Lehner Disserttaion June 2020 UNIVERSITY OF CALIFORNIA SANTA CRUZ TRANS SELF-REPRESENTATIONS: NON-BINARY VISUAL THEORY IN CONTEMPORARY PHOTOGRAPHY A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in VISUAL STUDIES by Ace Lehner June 2020 The Dissertation of Ace Lehner is approved: ____________________________________ Professor Derek Conrad Murray, Chairchair ____________________________________ Professor Jennifer A. González ____________________________________ Professor Amelia Jones ____________________________________ Professor Marcia Ochoa _____________________________ Quentin Williams Acting Vice Provost and Dean of Graduate Studies Copyright © by Ace Lehner 2020 Table of Contents Table of Figures iv Abstract vii Acknowledgements ix CHAPTERS Introduction Trans Visual Studies: And the Farce of the Visible | 1 Chapter One Unfixing the Photograph: Disidentifying with Masculinity in Wynne Neilly’s Female to “Male” | 106 Chapter Two Intimate Durationality: Trans-Queer Photography as Praxis | 183 Chapter Three Galvanizing Aesthetics in the Trans-Masculine Visual Field: Original Plumbing | Trans Male Quarterly | 261 Chapter Four A Multi-Dimensional Matrix of Visual Apprehension: The Gender-Non-Conforming Selfies of Alok Vaid-Menon | 342 Appendix A Brief Contextualization of Trans Visual Culture | 424 BIBLIOGRAPHY | 452 iii List of Figures Figure 1: Time Magazine Cover, June 9th, 2014 featuring Laverne Cox and the cover story “The Trans Gender Tipping Point: America’s Next Civil Rights Frontier”. Figure 2. Seydou Keïta, Untitled, from Bamako, 1949-1964, (Modern gelatin silver print, 170 x 110 cm, Edition of 5). Figure 3. Seydou Keïta, Untitled, from Bamako, 1949-1964, (Modern gelatin silver print, 170 x 110 cm, Edition of 5). Figure 4. Installation view of Wynne Neilly, Female to “Male,” dimensions variable, 2013-ongoing. Figure 5. Installation view row of Polaroid photographs, Wynne Neilly, Female to “Male,” dimensions variable, 2013-ongoing. Figure 6. Stills from Jaime Raines’ video, courtesy of the author. Figure 7. Polaroids from Wynne Neilly, Female to “Male,” dimensions variable, 2013-ongoing. Figure 8. Wynne Neilly, “August 8th, 2014,” Polaroid, from Female to “Male,” 2014. Figure 9. Wynne Neilly, “January 24th, 2014,” Polaroid, from Female to “Male,” 2013. Figure 10. Zackary Drucker and Rhys Ernst, Relationship, 2008-2013, installation view. Figure 11. Arthur (Weegee) Fellig’s The Gay Deceiver/Man Arrested for cross-dressing, New York, circa 1939. Figure 12. Diane Arbus, A Young Man With Curlers At Home on West 22nd Street, N.Y.C, 1966. Figure 13. Nan Goldin, Misty and Jimmy Paulette in a taxi, NYC, 1991. Figure 14. Nan Goldin, Jimmy Paulette and Tabboo! in the Bathroom, NYC, 1991. iv Figures 15. Nan Goldin, Jimmy Paulette After the Parade, NYC, 1991. Figure 16. Zackary Drucker and Rhys Ernst, Relationship, 2008-2013, (eggs image). Figure 17. Zackary Drucker and Rhys Ernst, Relationship, 2008-2013, photograph displayed on far left side of Whitney 2014 installation. Figure 18. Zackary Drucker and Rhys Ernst, Relationship, 2008-2013, photograph displayed on far right side of Whitney 2014 installation. Figure 19. Zackary Drucker and Rhys Ernst, Relationship, 2008-2013, installation view of Diptych. Figure 20. Zackary Drucker and Rhys Ernst, Relationship, 2008-2013, diptych. Figure 21. Images of Hillary Swank as Teena in Boys Don’t Cry, (1999). Figure 22. Hillary Swank as Brandon Teena in Boys Don’t Cry, (1999) still courtesy of the author. Figure 23. Hillary Swank as Brandon Teena in Boys Don’t Cry, (1999) still courtesy of the author. Figure 24. Cover image of Original Plumbing Schooled. Figure 25. Cover image of Original Plumbing Workin’ Stiff. Figure 26. Cover image of Original Plumbing, The Hero Issue. Figure 27. Cover image of Original Plumbing, The Party Issue. Figure 28. Cover image of Original Plumbing, Fashion Issue. Figure 29. Sanyu from Original Plumbing’s Fashion Issue, image courtesy of the author. Figure 30. Sanyu from Original Plumbing’s Fashion Issue, image courtesy of the author. Figure 31. Glen Marla Original Plumbing’s Fashion Issue, image courtesy of the author. v Figure 32. Image of Jacob Tobia’s gender mad lib, from Jacob Tobia, Sissy: A Coming-of-Gender Story (New York: G. P. Putnam’s Sons, 2019), 12-13. mad lib reflecting the dominant transgender narrative. Photograph courtesy of the author. Figure 33. Amos Mac and Rocco Kayiatos on p. xii of OP: The Best Ten Years of Trans Male Culture, photograph of magazine courtesy of the author. Figure 34. Tangerine image Tangerine (2015) promotional image 2015. Figure 35. Annie Liebovitz, “Caitlin Jenner,” Vanity Fair, cover June 2015. Figure 36. Cindy Sherman, Untitled Film Still #2, 1977. Figure 37. Cindy Sherman, Untitled Film Still #8, 1978. Figure 38. Cindy Sherman, Untitled Film Still #27, 1979. Figure 39. Alok Vaid-Menon’s Instagram feed, as of September 26, 2019, screen grab courtesy of the author. Figure 40. Alok Vaid-Menon’s Instagram feed, screen grab courtesy of the author Figure 41. Alok Vaid-Menon, Bathroom Mirror Selfie, posted to Instagram September 27, 2016, screen grab courtesy of the author. Figure 42. Alok Vaid-Menon, Usie, Posted to Instagram May 24, 2015, screen grab courtesy of the author. Figure 43: Daily News cover, December 1st, 1952, photographer unknown (Images featuring Christine Jorgenson). vi Abstract Trans Self-Representations: Non-Binary Visual Theory in Contemporary Photography Ace Lehner Trans Self-Representations: Non-Binary Visual Theory in Contemporary Photography, is an interdisciplinary trans visual studies approach to contemporary lens-based self-representations produced by trans and non-binary people. This project is committed to rigorous interdisciplinarity that actively works to undo the partitioning of various identity-based discourses from one another. The project establishes a much-needed field and method of trans visual studies at the intersection of trans studies and visual studies and their methods. Each of the four chapters of my projects focuses on a particular trans self- representation milestone and sub-genre of trans/ non-binary self-representations and each chapter takes a distinct approach to thinking through the cultural and visual significance of each discrete intervention. Overall the interdisciplinary research brings together trans studies, queer theory, photography theory, critical race studies, cultural studies, media studies and postcolonial theory. The chapters of this project are dedicated to looking at trans self-representations and critically addressing the ways trans self-image photographs have the potential to offer a space wherein makers can interrogate the ways their own changing corporealities engage identity, representation, intervene in the trans visual field, how “matrixes of intelligibility” and “racializing assemblages” The photos tranifest – or bring vii into being new trans and non-binary identities, forwarding them via performative self-portraiture. My research reveals that trans and non-binary self-representations are reshaping identity categories and challenging and augmenting contemporary theory and imaging practice. In establishing the field of Trans Visual Studies I also work to establish trans visual studies methods that are non-binary and de- essentialized methods for apprehending contemporary visual culture. This project argues that trans visual culture is a shifting field with diverse representational approaches and corporealities. I also argue that we need increased scholarship in this area and a more in-depth investigation into trans visual culture. To consider the current moment of unprecedented amount of trans visual culture without engaging in trans visual studies analysis of the phenomenon is to conduct critical error and run the risk of missing the significant impact that trans visual culture is having on visual culture, art, identity constituencies, theories of representations and imaging practices. viii Dedication This dissertation is dedicated to professor Derek Conrad Murray, Ph.D., for his ongoing inspiration, mentorship and support. Not only has he made this project possible, but he has genuinely changed my life. Thank you. ix Acknowledgments I must express my most profound gratitude to my advisor Professor Derek Conrad Murray, for without his mentorship over the years, this project would not have been possible. I am also immensely thankful for my committee members Professors Jennifer A. González, Amelia Jones, and Marcia Ochoa. Their ongoing insight and generosity have inspired my intellectual pursuits and deeply impacted my scholarship and research. I would also like to thank the entire Visual Studies department and, in particular, those folks who have graced me with their indelible support over the years, especially Elisabeth Cameron, Maria Evangelatou, Ruby Lipsenthal, and Boreth Ly. As a first-generation college graduate with no family financial support, this project would not have been possible without the many generous awards that have funded this research including numerous HAVC department grants, the Florence French Fund, the DANM fund for excellence, the Presidents Dissertation-year Fellowship, and most recently the College Art Association Professional Development Fellowship in Art History. I am continually thankful for the extensive community of scholars, artists, mentors, and amazing students I have been fortunate to engage with along the way, at California College of the Arts, the University of California at Santa
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