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Ffdoespieszak Pieszak CRITICAL REALISM in CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of E

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Ffdoespieszak Pieszak CRITICAL REALISM in CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of E CRITICAL REALISM IN CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of Essex, 2007 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 FfdoesPieszak Pieszak UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Alexandra Oliver It was defended on April 1, 2014 and approved by Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, History of Art & Architecture Barbara McCloskey, Associate Professor, History of Art & Architecture Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Josh Ellenbogen, Associate Professor, History of Art & Architecture ii Copyright © by Alexandra Oliver 2014 iii CRITICAL REALISM IN CONTEMPORARY ART Alexandra Oliver, Ph.D. University of Pittsburgh, 2014 This study responds to the recent reappearance of realism as a viable, even urgent, critical term in contemporary art. Whereas during the height of postmodern semiotic critique, realism was taboo and documentary could only be deconstructed, today both are surprisingly vital. Nevertheless, recent attempts to recover realism after poststructuralism remain fraught, bound up with older epistemological and metaphysical concepts. This study argues instead for a “critical realism” that is oriented towards problems of ethics, intersubjectivity, and human rights. Rather than conceiving of realism as “fit” or identity between representation and reality, it is treated here as an articulation of difference, otherness and non-identity. This new concept draws on the writings of curator Okwui Enwezor, as well as German critical theory, to analyze the work of three artists: Ian Wallace (b. 1943, Shoreham, UK), Jeff Wall (b. 1949, Vancouver, British Columbia), and Allan Sekula (b. 1951, Erie, Pennsylvania, d. 2013, Los Angeles). Placing their art in a critical-realist framework not only offers an original perspective on three established artists whose practices have long been seen as mutually divergent, but connects their accomplishments to broader themes in modernist historiography, particularly anti-theatricality, commodification and utopian longing. iv TABLE OF CONTENTS LIST OF FIGURES .................................................................................................................. VII PREFACE ..................................................................................................................................... X 1.0 INTRODUCTION................................................................................................................ 1 1.1 HISTORICAL RATIONALE .................................................................................... 6 1.2 DOCUMENTARY AND BIOPOLITICS.................................................................. 9 1.3 THE PROBLEM REFRAMED AS A PROBLEM OF IDENTITY-THINKING10 1.4 CHAPTER OUTLINE .............................................................................................. 19 2.0 IAN WALLACE: REALISM AS INTERSECTION ...................................................... 22 2.1 EARLY POLITICS AND THE LIMITS OF THE MONOCHROME ................ 24 2.2 GETTING OUTSIDE THE GALLERY ................................................................. 28 2.3 INVENTION, NOT EXPRESSION ......................................................................... 37 2.4 EARLY PHOTOGRAPHIC WORK ....................................................................... 42 2.5 TURNING POINT: POVERTY AND THE INFLUENCE OF ANDY WARHOL’S “BLANKS” .................................................................................................. 47 2.6 MY HEROES IN THE STREET: ARRIVING AT THE INTERSECTION ...... 55 2.7 RECENT WORK: INTERSECTIONS, DECLARATIONS AND HUMAN RIGHTS ............................................................................................................................... 62 3.0 JEFF WALL: REALISM AS ILLEGIBILITY .............................................................. 73 v 3.1 JEFF WALL AND HIS SOURCES ......................................................................... 76 3.2 ILLEGIBILITY’S REALIST HISTORY ............................................................... 84 3.3 CINEMATOGRAPHY: CRAFTING ILLEGIBILITY ........................................ 92 3.4 DIATRIBE REVISITED .......................................................................................... 95 4.0 ALLAN SEKULA: REALISM AS CONSTELLATION ............................................. 105 4.1 AEROSPACE FOLKTALES ................................................................................. 112 4.2 A VERY SHORT PHILOSOPHICAL SECTION: WHAT IS A CONSTELLATION? ....................................................................................................... 119 4.3 THE DIPTYCH AS PROTO-CONSTELLATION .............................................. 122 4.4 THE SHIPPING CONTAINER: A FIGURE FOR THE DIALECTIC OF MATERIALITY AND VIRTUALITY ........................................................................... 129 4.5 CRITICAL REALISM AND THE PROBLEM OF REPRESENTING GLOBALIZATION .......................................................................................................... 144 5.0 CONCLUSION ................................................................................................................ 155 BIBLIOGRAPHY ..................................................................................................................... 177 vi LIST OF FIGURES Figure 1 Ian Wallace, My Heroes in the Street, 1986, photolaminate, acrylic on canvas, installation view, Kunstverein, Düsseldorf, 2008. Left: Keith, 102 x 230 cm, Bayerische Staatsgemäldesammlungen – Pinakothek der Modern, Siemens Arts Program, permanent loan of Siemens Aktiongesellscshaft. Center and right, respectively: Shelagh and Rodney, 101 x 221 cm. Collection of Greta Meert, Brussels................................................................................................ 4 Figure 2 Ian Wallace, Monochrome Schema, 1967/2007, ink jet print, 49.5 x 25.4 cm. ............. 29 Figure 3 Ian Wallace, Untitled (Blue Monochrome with White), 1967, acrylic on canvas, 29 x 51 cm. Collection of Robert Kleyn and Helga Pakasaar. Installation view at Simon Fraser University Art Gallery, Burnaby, 1968......................................................................................... 35 Figure 4 Ian Wallace, Untitled (Plank Piece), 1968; wood, vinyl; dimensions variable. Installation view at the Musée des beaux arts, Montréal.......................................................... 37 Figure 5 Ian Wallace, Untitled (White Line) 1969/2012; wood, acrylic paint; 5 planks, 243.8 x 24 x 2 cm. ........................................................................................................................................... 38 Figure 6 Ian Wallace, Magazine Piece Schema, 1970, ink on vellum, 61 x 106.6 cm. ................ 39 Figure 7 Ian Wallace, Pan Am Scan, 1970, 5 silver gelatin prints, each 32.2 x 47.6 cm. Collection of the Vancouver Art Gallery, Vancouver. ................................................................................... 43 Figure 8 Ian Wallace, Study for Pan Am Scan, 1970, silver gelatin print, collage on paper, 33 x 29.9 cm. Collection of Lesley Stowe and Geoffrey Scott, Vancouver. ........................................ 46 vii Figure 9 Ian Wallace, Poverty, 1980, eight gelatin silver prints of frames pulled from the original 16mm film, each 13 x 17.8 cm. Promised Gift to the Vancouver Art Gallery from Rick Erickson, Vancouver Art Gallery, Vancouver. ............................................................................................. 48 Figure 10 Ian Wallace, My Heroes in the Street II, 1986; photolaminate, acrylic on canvas; 183 x 336 cm. Collection of the Art Gallery of Ontario, Toronto. ......................................................... 57 Figure 11 Ian Wallace, My Heroes in the Street III, 1986; photolaminate, acrylic on canvas; 183 x 336 cm. Collection of the Art Gallery of Ontario, Toronto. Gift of Ydessa Hendeles, 2009. ... 59 Figure 12 Ian Wallace, Declaration I, 1999, vinyl lettering on the wall, dimensions variable. Installation view at Zerynthia, Serra di Rapalano, Italy. .............................................................. 65 Figure 13 Ian Wallace, Declaration VII, 2012, vinyl lettering on wall, 15.75 x 502 cm. Installation view at the Vancouver Art Gallery, Vancouver ......................................................... 67 Figure 14 Jeff Wall, Diatribe, 1985, transparency in lightbox, 203.0 x 229.0 cm. Courtesy of the artist............................................................................................................................................... 77 Figure 15 Nicolas Poussin, Landscape with Diogenes (Paysage avec Diogene), 1648, oil on canvas, 60 x 221 cm. Musée du Louvre, Paris.............................................................................. 78 Figure 16 Caravaggio, Conversion of St. Paul, ca. 1600, oil on canvas, 230 cm x 175 cm. Santa Maria di Popolo, Rome. ................................................................................................................ 86 Figure 17 Ian Wallace The Calling, 1977, gelatin silver print, 132 x 160 cm. The Rennie Collection, Vancouver.
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