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FINAL DRAFT Redacted PICTURING POLITICS: DRAWING OUT THE HISTORIES OF COLLECTIVE POLITICAL ACTION IN CONTEMPORARY ART HANNAH ELLUL Thesis submitted for the degree of Doctor of Philosophy Department of Visual Cultures Goldsmiths, University of London September 2016 I hereby declare that the the work presented here is my own. Hannah Ellul February 2017 ACKNOWLEDGMENTS Thanks are due first of all to my supervisors, Astrid Schmetterling and Nicole Wolf, whose calm and supportive insight and advice has been invaluable. Ros Gray and Mark Fisher shared thoughtful and helpful comments on the project in its early stages, for which I am grateful. My gratitude is marked by sorrow at the sad loss of Mark just before the completion of this PhD. He will be greatly missed. I am grateful for the practical support of the department, in the form of the bursary which made this PhD possible. I would also like to acknowledge the help of the Graduate School at Goldsmiths, whose financial support made it possible for me to develop my ideas at the Banff Research in Culture residency at the Banff Centre, Alberta, Canada, in June 2015. In Banff I was able to share thoughts and questions with a supportive group of insightful scholars and artists, whose input had a lasting effect on my work here. It is hard to exaggerate the unending generosity and hospitality of Sinéad McCarthy and Dan Walton, and of Sarah Morris and Matt Rourke, which I have enjoyed while I have been working on this PhD. Te times I have spent in their company have been among the highlights of the last four years. I am also enormously grateful to my uncle, France Ellul, whose support at critical points during the PhD is just the most recent act of generosity in many years of encouragement. Tanks are also owed to Sue and Ian Knight who have also been there with practical and moral support throughout; as has my mother, Dolores Ellul. Finally, I am always grateful to have the long-suffering Ben Knight by my side. I hope I can be half as supportive in the next few years, as he starts his own PhD, as he has been during mine. 3 ABSTRACT This project explores the appropriation of images of political upheaval in contemporary art, with a particular focus on artists who painstakingly draw from photographs. It is a project informed by contemporary debates on the convoluted temporality and performativity of the image, the aesthetic and affective dimensions of political subjectification, and forms of political agency. The drawings of artists including Andrea Bowers, Fernando Bryce and Olivia Plender, discussed here, elaborate a piecemeal, meticulously-drawn iconography of protest. Photographs and documents of emancipatory political struggle from different periods and places are reworked by hand, in acts of salvage. Something like an affective atmosphere is limned in scenes and artefacts that may not have lost their capacity to move but nonetheless seem remote today, the collective political desire and will they evoke overwhelmed by the disconcerting vicissitudes of sociopolitical circumstance. In light of the long and complex histories of art’s engagement with the political, and the many and various modes of reciprocity devised along the way, what does it mean to be preoccupied with images of political action? To ask as much is to begin to address the complex ways in which such images intersect with and shape processes of political identification and affiliation, the emergence of collective subjectivity and the desire for political agency. Moreover, it is to speculate upon how these processes take place in a negotiation with the often obscure histories of collective action, and how such histories inform renewed efforts of political imagination. What attachments or detachment are played out in these drawings? What choreographies of binding and unbinding are traced in these lines? 4 CONTENTS Acknowledgements 013 Abstract 114 L i s t o f i m a g e s 116 1 INTRODUCTION 111 The Site of the Political 118 O n A g e n c y 021 On Appropriation 023 Brushing History Against the Grain 028 Drawing and its Others 36 Epistemologies of Embodied Vision 45 2 CHOREOGRAPHIES OF BINDING 49 AND UNBINDING: THE DRAWINGS OF ANDREA BOWERS 0 Magical Politics 052 The One & the Many 070 Help the Work Along 079 P a r t i s a n I m a g e s 093 S e l f - m a k i n g 097 The Work of Pictures 0105 3 FERNANDO BRYCE’S 109 MIMETIC ANALYSIS R e v o l u c i ó n 115 On Seriality 154 Mimetic Analysis 166 Archives and Repertoires 174 Holding Operations 179 4 HAPTIC HISTORIES: OLIVIA 182 PLENDER AND HESTER REEVE The Suffragette As Militant Artist 185 Habeas Corpus 208 The Event of Photography 215 Imagined Photographs 223 On Presence 227 Horizons of Expectation 231 A f t e r w o r d 2 3 4 Bibliography 239 5 LIST OF IMAGES 1 1.1 Andrea Bowers, Dignity Safety Justice: Woman With Raised Fist (Trans 11 Latina Coalition, Blockade at the Beverly Center, L.A., CA, March 20th, 2015), graphite on paper, 2016. 1.2 Andrea Bowers, Emma Goldman Speaking on Birth Control at a Rally in 12 Union Square, NY, 1916, graphite on paper, 2009. 1.3 Fernando Bryce, Trotsky, ink on paper, series of 10 drawings, 2003 (detail). 13 1.4 Fernando Bryce, Guatemala 54, ink on paper, series of 4 drawings, 2003. 13 1.5 Te Emily Davison Lodge (Olivia Plender and Hester Reeve), from Te 14 Suffragette as Militant Artist: Suffragette Artists & Suffragette Attacks on Art, chapbook, 2010. 1.6 Olivia Plender, Sylvia Pankhurst Protesting, pencil on paper, 2014. 14 2 2.1 Andrea Bowers, Diabloblockade, Diablo Nuclear Power Plant, Abalone 56 Alliance, 1981, graphite on paper, 2003. 2.2 Andrea Bowers, Seneca Falls, New York, 1983, Women climbing over the fence 57 to protest the nuclear test site, graphite on paper, 2003 (detail). 2.3 Andrea Bowers, Seneca Falls, New York, 1983. 58 2.4 Andrea Bowers, Spectacular Appearances (Man in a San Jose Crowd), coloured 59 pencil on paper, 1997 (detail). 2.5 Andrea Bowers, Intimate Strangers, foil, coloured pencil and graphite on 59 paper, 2000 (detail). 2.6 Andrea Bowers, Young Abortion Rights Activist, San Francisco Bay Area, 1966 60 (Photo Lent from the Archives of Patricia Maginnis), coloured pencil and graphite on paper, 2005 (detail). 2.7 Andrea Bowers, Women’s Pentagon Action, 1981: Woven Web Around Pentagon, 61 graphite on paper, 2003. 2.8 Andrea Bowers, Defense of Necessity, steel, fabric and yarn, 2003. 63 2.9 Andrea Bowers, Feminist Spirituality and Magical Politics Scrapbook, 66 photocopies on paper, 2003 (details). 2.10 Andrea Bowers, Nonviolent Civil Disobedience Training, graphite on paper, 71 2004. 2.11 Andrea Bowers, Nonviolent Civil Disobedience Training, two-channel video 72 projection, 2004 (stills). 2.12 Andrea Bowers, Nonviolent Civil Disobedience Drawing (Poor People’s 74 Campaign, June 1968, Washington D.C.), graphite on paper, 2004. 6 2.13 Andrea Bowers, Nonviolent Civil Disobedience Drawing (Civil Rights 74 Demonstrators, Federal Building, Los Angeles,1965), graphite on paper, 2004. 2.14 Andrea Bowers, Nonviolent Civil Disobedience Drawing—Transvestite 75 Smoking, coloured pencil on paper, 2004. 2.15 Andrea Bowers, Nonviolent Civil Disobedience Drawing—Go Perfectly Limp 78 and Be Carried Away, graphite on paper, 2004. 2.16 Andrea Bowers, One Big Union, ink on cardboard, 2012. 80 2.17 Andrea Bowers, A Menace to Liberty, ink on cardboard, 2012. 83 2.18 Andrea Bowers, A Garland for May Day (Illustration by Walter Crane), ink on 83 cardboard, 2012. 2.19 Andrea Bowers, Help the Work Along, installation view, 2012. 85 2.20 Andrea Bowers, People Before Profts (May Day March, Los Angeles, 2012), 86 coloured pencil and graphite on paper, 2012. 2.21 Andrea Bowers, For My Transgender Sisters (May Day March, Los Angeles, 86 2012), coloured pencil and graphite on paper, 2012. 2.22 Andrea Bowers, Legalize my Man (May Day March, Los Angeles, 2012), 86 coloured pencil and graphite on paper, 2012. 2.23 Andrea Bowers, No Olvidado (Not Forgotten), graphite on paper, 2012. 89 2.24 Andrea Bowers, Pass Te Dream Act (Dream Act), coloured pencil on archival 90 board, 2012. 2.25 Andrea Bowers, Pass Te Dream Act (Barbed Wire), coloured pencil on 90 archival board, 2012. 2.26 Andrea Bowers, Pass Te Dream Act (Dreamers), coloured pencil on archival 90 board, 2012. 3 3.1 Fernando Bryce, Revolución, ink on paper, series of 219 drawings, 109 installation view, 2004. 3.2 Fernando Bryce, Atlas Perú, ink on paper, series of 494 drawings, installation 112 view, 2000-2001 (detail). 3.3 Fernando Bryce, Die Welt, ink on paper, series of 194 drawings, 2008 113 (details). 3.4 Fernando Bryce, El Mundo en Llamas, ink on paper, series of 95 drawings, 113 installation view, 2014 (detail). 3.5 Fernando Bryce, from Revolución, ink on paper, series of 219 drawings, 116 2004. Comandante Ernesto Che Guevara; ‘Comrade worker: STUDY to win the battle of the sixth grade’. 3.6 Fernando Bryce, from Revolución, ink on paper, series of 219 drawings, 118 2004. 4 January 1959: ‘We will not betray the faith of our people’; ‘The people say: YES!’. 7 3.7 Fernando Bryce, from Revolución, ink on paper, series of 219 drawings, 124 2004. ‘Agrarian reform continues!’; ‘At 106 Maria de la Cruz learnt to read’. 3.8 Fernando Bryce, from Revolución, ink on paper, series of 219 drawings, 125 2004. ‘America is one and only and one and only is its destiny’. 3.9 Fernando Bryce, from Revolución, ink on paper, series of 219 drawings, 126 2004.
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